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Pope Saint Paul VI (3 April 1969): “Although the text of the Roman Gradual—at least that which concerns the singing—has not been changed, the Entrance antiphons and Communions antiphons have been revised for Masses without singing.”

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Views from the Choir Loft

Palestrina and the Perfecting of the Medieval Ideal of Music as Rational • (Part 2 of 3)

Guest Author · April 17, 2017

BELOW IS THE SECOND PART of a guest series by Joseph J. Mullen, founder and director of The Palestrina Choir School, dedicated to the training of choristers to sing for the Traditional Roman Liturgy. Beautifully sung tone and musical literacy are its foundational principles. These principles are actualized by a synthesis of ancient and modern pedagogic approaches in light of the Liberal Arts and Thomistic Meta-physics.

Part One can be read here. Part Two considers how the Polyphonic Choral Style—as perfected by Palestrina—mirrors the rational mind and reflects the music of heaven.


A Mirroring of the Rational Mind

T SEEMS TO ME that one of the most profound attributes of the Catholic polyphonic style, developed through medieval simple harmony and perfected by Palestrina, is that of imitation. Gioseffo Zarlino, a Renaissance composer and well known theorist of the day, in his book “L’istitutioni harmoniche” describes imitation:

In this type of melody what is consequently sung can be repeated by another.

According to Zarlino “Fugue, imitation and consequence” are the three specific types of imitative devices that a composer could employ. A detailed explanation of the characteristics of each of these devices does not serve our purpose at this time. Suffice it to say that the imitative style takes the form of musical dialogue.

In Dialogue we have the root of philosophy. The great Brazilian Catholic thinker Professor Plinio Corrêa de Oliveira properly understood it thus:

“Dialogue” is used in Socrates and Plato to designate the form of intellectual elaboration that two or more speakers, proceeding by questions and answers, use to distinguish things according to their genus.

In the works of Plato we see Socrates engaging in dialogue to get to the essence of things. Let us see if we can discover, by means of dialogue, the essence of this music. Its nature is not only rational and dialectical, but we can also see it as a participation in the music of heaven. Take, for example, some of the texts and Gregorian melodies from the Ordinary of the Catholic mass. For brevity’s sake we will consider the Kyrie, Gloria, and Sanctus:


KYRIE

The Kyrie consists of three acclamations—Kyrie eleison, Christe eleison, and Kyrie eleison—each of which is sung three times, so that the entire melody consists of nine distinct phrases. This ancient ninefold plea for mercy’s number is evocative of the nine choirs of angels, whose harmonious echoes fill the heavens. We know from scripture that the angels do indeed plea for mercy:

And the angel of the Lord answered, and said: O lord of hosts, how long wilt thou not have mercy on Jerusalem, and on the cities of Juda, with which thou hast been angry? (Zech 1:12)

By its very nature, construction and execution the Kyrie is a call and response in dialectical form. The most ancient of the Kyrie melodies suggest, by their simplicity, a congregational participation and dialogue with the priest. It was perhaps developed from the ancient litanies sung on certain feasts and Rogation days.


GLORIA

Gloria in excelsis Deo is the second item of the Ordinary. It is the Hymnus Angelicus, also called the greater doxology. Along with the “Te Deum” it is a chant written like the “Psalmi idotici” that is, non biblical texts in the style of the psalms. The psalms from antiquity until the present day are sung in choir, alternating one side with the other. Again, this is a dialectical unfolding of the psalm and antiphon.

The text, “Glory to God in the highest and peace to men of good will,” (Luke 2:14) is taken from the hymn the vast multitude of angels sang on the night of Christ’s birth. Scripture speaks elsewhere (Prov 25:2) of the glory of God:

It is the glory of God to conceal the word, and the glory of kings to search out the speech.

The concealed “Word,” the Son of God, born lowly and hidden in the stable at Bethlehem enters the world, incarnate to live and converse with men. To “search out this word,” that is: to ponder, dialogue, meditate and contemplate upon Him is the “glory of kings.” Not just the three kings who sought out the hidden word, but every Catholic in the state of sanctifying grace who seeks Him out somehow participates in the kingly nature of Christ.

Again, ideally, when sung in Gregorian chant choral style alternating the phrases from one side of the choir stall to the other, it is evocative of a reciprocal dialectic unfolding which gives a greater understanding and elucidation of the sacred text.


SANCTUS

The Sanctus is preceded in the preface of the Mass with a plea to unite our song with that of the angels in heaven. These are the six-winged seraph spoken of in the book of Isaiah. It is in the angelic “trisagion” that we have special insight into the dialectical and polyphonic nature of the music of heaven.

In sacred scripture we find:

And they cried one to another, and said: “Holy, holy, holy, the Lord God of hosts, all the earth is full of his glory.” (Isaiah 6:2)

And they rested not day and night, saying: “Holy, holy, holy, Lord God Almighty, who was, and who is, and who is to come.” (Rev 4:8)

From these texts at least two things can be deduced about the nature of the heavenly Sanctus:

1.  It takes dialectic form: “They cried one to another.”

2.  It is unceasing: “They rested not day and night.”

Upon further reflection one may ask, what is the nature of this eternal repetition? Does it forever remain the same in essence as well as accidents? Or are the accidental attributes forever changing to eternally elaborate the holiness of God? Are they repeated one after the other, each awaiting their turn or are they layered in harmonic construction one upon the other? Is it like the snowflake, always beautiful, proportional yet never being replicated? One only needs to ponder the almost infinite variety that is found in the vast creation of our visible world, to perhaps realize that an ever progressive eternal flowering of beauty is congruent with the nature of Almighty God. I suspect, though we have a small glimpse from sacred scripture into the nature of this trifold Sanctus, its real essence has not “entered into the heart of man.” (1 Cor. 2:9, Isa. 64:9)

In the polyphonic choral art of the Renaissance we can see a mirroring of the heavenly style as found in sacred scripture. The style serves and develops the texts of the liturgy. These texts are elucidated and intensified through a dialectical syllogism of musical phraseology. So it is not only a manifestation of the classical ideal of thesis, antithesis and synthesis but much more. Each new idea, as taken by a different species of the human voice, is united to the texts in dialectical development that intensify or magnify the words of praise and pleas for mercy offered unto Almighty God.

This compositional polyphonic style is reminiscent of the classical dialogue of the Socratic method as found in the works of Plato. Yet this dialectical classical ideal, although having a perfection in Socrates, does not find its origin in Greek Philosophy. It is from our creation and built into the human psyche.

Was it not Almighty God Himself in dialogue with Himself who said as follows?

Let us make man in Our image, according to Our likeness?” (Gen 1:26)

Who was Almighty God speaking to if not Himself? Is not the image and likeness of God manifested in the immaterial powers of the soul? As St. Thomas affirms:

Since man is said to be the image of God by reason of his intellectual nature, he is most perfectly like God according to that in which he can best imitate God in his intellectual nature.

Also he states:

The image of God, in its principal signification, namely the intellectual nature, is found both in man and in woman.

Of all mankind, from the highest intellect to the most simple soul, we all participate in this intellectual nature of God to “self reflect.” Our ability to inner dialogue is a light that we have in order to see ourselves as we are.

In reflection and self-consciousness it [the intellect] turns back on itself in such a manner that there is perfect identity between the knowing subject and the object known.

This light every man has received from God: “This was the true light which, coming into the world, enlightens every man.” (John 1:9) This inner dialogue is manifest simply in what every Catholic should know as the “examination of conscience.” What is the subject of the examination if not yourself? Who is doing the examination? Not only does the intellect have the ability to examine itself but it can also examine its own examination as to quality, motive and sincerity. Then it can even examine this examination, which results in a greater striving toward a more perfect knowledge of self in seeking to conform to the image and likeness of Almighty God within the soul. “Be you therefore perfect, as also your heavenly Father is perfect.” (Matt 5:48) This example of examination of conscience can be applied to any conceptual phantasm abstracted from the memory by the agent intellect. Whereby one’s awareness can become extraneous to one’s very own thoughts, look back at them and exercise judgment upon them. So in one sense this inner dialogue of self reflecting is a kind of zooming in, if you will. An inner inquiry or magnifying glass whereby knowledge can come to a greater perfection within the soul.

In part three, Mr. Mullen will discuss the perfect example of the Blessed Virgin Mary as a ‘self reflecting’ soul and a summary conclusion of how the ‘Medieval Ideal of Music as Rational’ was perfected in the Works of Palestrina.


We hope you enjoyed this guest article by Joseph J. Mullen.

Opinions by blog authors do not necessarily represent the views of Corpus Christi Watershed.

Filed Under: Articles Tagged With: Palestrina School Singing Last Updated: January 1, 2020

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President’s Corner

    New Bulletin Article • “14 September 2025”
    My pastor requested that I write short articles each week for our parish bulletin. Those responsible for preparing similar write-ups may find a bit of inspiration in these brief columns. The latest article (dated 14 September 2025) discusses OFFERTORY ANTIPHONS and contains a wonderful quote by Archbishop Fulton J. Sheen.
    —Jeff Ostrowski
    PDF Download • Draft Copy (Pamphlet)
    A few days ago, I posted a draft copy of this 12-page pamphlet with citations about the laity’s “full, conscious, and active participation.” Its basic point or message is that choir directors should never feel embarrassed to teach real choral music because Vatican II explicitly ordered them to do that! We’ve received tons of mail regarding that pamphlet, with many excellent suggestions for improvement. Please feel free to chime in!
    —Jeff Ostrowski
    “Entrance Chant” • 23rd (Ordinary Time)
    This coming Sunday, 7 September 2025, is the 23rd Sunday in Ordinary Time (Year C). You can download the “Entrance Chant,” conveniently located at the feasts website. I also recorded a rehearsal video for it (freely available at the same website). The Communion Chant includes gorgeous verses in FAUXBOURDON. I attempted to create a rehearsal video for it, and it’s been posted at the feasts website, called by some: “church music’s best kept secret.”
    —Jeff Ostrowski

Quick Thoughts

    Karl Keating • “Canonization Questions”
    We were sent an internet statement (screenshot) that’s garnered significant attention, in which KARL KEATING (founder of Catholic Answers) speaks about whether canonizations are infallible. Mr. Keating seems unaware that canonizations are—in the final analysis—a theological opinion. They are not infallible, as explained in this 2014 article by a priest (with a doctorate in theology) who worked for multiple popes. Mr. Keating says: “I’m unaware of such claims arising from any quarter until several recent popes disliked by these Traditionalists were canonized, including John XXIII, Paul VI, and John Paul II. Usually Paul VI receives the most opprobrium.” Mr. Keating is incorrect; e.g. Father John Vianney, several centuries ago, taught clearly that canonizations are not infallible. Archbishop Fulton J. Sheen would be another example, although clearly much more recent than Saint John Vianney.
    —Corpus Christi Watershed
    Vatican II Changed Wedding Propers?
    It’s often claimed that the wedding propers were changed after Vatican II. As a matter of fact, that is a false claim. The EDITIO VATICANA propers (Introit: Deus Israel) remained the same after Vatican II. However, a new set of propers (Introit: Ecce Deus) was provided for optional use. The same holds true for the feast of Pope Saint Gregory the Great on 3 September: the 1943 propers (Introit: Si díligis me) were provided for optional use, but the traditional PROPRIA MISSAE (Introit: Sacerdótes Dei) were retained; they weren’t gotten rid of. The Ordo Cantus Missae (1970) makes this crystal clear, as does the Missal itself. There was an effort made in the post-conciliar years to eliminate so-called “Neo-Gregorian” chants, but (contrary to popular belief) most were retained: cf. the feast of Christ the King, the feast of the Immaculate Conception, and so forth.
    —Corpus Christi Watershed
    Solemn “Salve Regina” (Chant)
    How many “S” words can you think of using alliteration? How about Schwann Solemn Salve Score? You can download the SOLEMN SALVE REGINA in Gregorian Chant. The notation follows the official rhythm (EDITIO VATICANA). Canon Jules Van Nuffel, choirmaster of the Cathedral of Saint Rumbold, composed this accompaniment for it (although some feel it isn’t his best work).
    —Corpus Christi Watershed

Random Quote

The “Nova Organi Harmonia” demanded from each of us an unusual commitment; we have dedicated to it the best of our energies. Would it be, therefore, presumptuous on our part to be satisfied with the result and to expect its welcome reception in the musical world?

— Msgr. Jules Van Nuffel (circa 1940)

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