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Views from the Choir Loft

Fota X Conference (and other Summer Opportunities)

Fr. David Friel · May 7, 2017

DD ANOTHER event to the list of liturgy conferences planned for this summer. In addition to Sacra Liturgia Milano, the CMAA Sacred Music Colloquium, the Los Angeles Sacred Music Symposium, and the Wethersfield Institute Chant Workshop, the annual Fota Conference has just been announced.

For the tenth consecutive year, liturgical scholars, students, and enthusiasts will gather in Cork, Ireland for a three-day conference hosted by the St. Colman’s Society for Catholic Liturgy. You can view my recap of last year’s excellent Fota IX conference, which I was fortunate to attend.

The subject for this year’s Fota conference is Resourcing the Prayers of the Roman Liturgy: Patristic Sources. Papers will be delivered by speakers including: Prof. Manfred Hauke (Lugano), Prof. Dieter Boehler (Frankfurt), Fr. Joseph Briody (Boston, MA), Gregory diPippo (New Liturgical Movement), Dr. Johannes Nebel (Austria), Fr. Jao-Paolo Mendanca Dantas, (Fortaleza, Brazil), and Fr. Kevin Zilverberg (St. Paul, MN).

For those keeping score at home, here is a chronological lineup of liturgy-related opportunities for Summer 2017:

Sacra Liturgia – Milan, Italy (June 6-9)

CMAA Sacred Music Colloquium – St. Paul, MN (June 19-24)

Sacred Music Symposium – Los Angeles, CA (June 26-30)

CMAA Ward Method Summer Course – Pittsburgh, PA (June 26-30)

Wethersfield Institute Chant Workshop – Amenia, NY (June 27-30)

Teaching Gregorian Chant to Children – St. Joseph’s Seminary Dunwoodie (July 5-8)

Fota X Conference – Cork, Ireland (July 8-10)

This summer will see chant activity in a wide array of areas: East coast, West coast, Midwest, Ireland, and Italy. Each of these events promises to introduce the treasury of the Church’s music to many new people. These workshops will also deepen the knowledge and experience of many folks already working with chant in their parishes and institutions.

The placement of these opportunities across the United States and Europe is very good news for the renewal of sacred music. It is simple evidence that there is a widespread need being met. May the Lord bring forth much fruit from each of these events!

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

Filed Under: Articles Tagged With: Fota Liturgy Conference, Gregorian Chant, Sacred Music Colloquium, Sacred Music Symposium Last Updated: January 1, 2020

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About Fr. David Friel

Ordained in 2011, Father Friel served as Parochial Vicar at Saint Anselm Church in Northeast Philly before earning a doctorate in liturgical theology at The Catholic University of America. He presently serves as Vocation Director for the Archdiocese of Philadelphia.—(Read full biography).

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Quick Thoughts

19 May 2022 • “Trochee Trouble”

I’m still trying to decide how to visually present the “pure” Editio Vaticana scores, using what is (technically) the official rhythm of the Church. You can download my latest attempt, for this coming Sunday. Notice the “trochee trouble” as well as the old issue of neumes before the quilisma.

—Jeff Ostrowski
16 May 2022 • Harmonized Chant?

This year’s upcoming Sacred Music Symposium will demonstrate several ways to sing the CREDO at Mass. This is because—for many parishes—to sing a full-length polyphonic CREDO by Victoria or Palestrina is out of the question. Therefore, we show options that are halfway between plainsong and polyphony. You can hear my choir rehearsing a section that sounds like harmonized plainsong.

—Jeff Ostrowski
14 May 2022 • “Pure” Vatican Edition

As readers know, my choir has been singing from the “pure” Editio Vaticana. That is to say, the official rhythm which—technically—is the only rhythm allowed by the Church. I haven’t figured out how I want the scores to look, so in the meantime we’ve been using temporary scores that look like this. Stay tuned!

—Jeff Ostrowski

Random Quote

“As liturgical art, church music is obliged to conform to ecclesiastical law. But to construct artificial polarities here, between legalistic order and a dynamic church music, demanded by the alleged needs of the day, would be to forsake the foundation of a music rooted in liturgical experience. What is in fact the pastoral value of the shoddy, the profane, the third-rate?”

— Dr. Robert Skeris (1996)

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