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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

Forming the Next Generation of Church Musicians

Dr. Lucas Tappan · June 13, 2017

LMT St. Patrick's Cathedral Choir, Dublin ECENTLY I STUMBLED ACROSS a fantastic read, a DMA document entitled The Choir School in the American Church: a study of the choir school and other current chorister training models in Episcopal and Anglican parishes, by Daniel McGrath (2005). I share it with readers today because McGrath is the first author I have found who systematically and succinctly describes the the nature of, as well as the various models of, the Anglican choral system (both in England and in the United States), a model I feel passionately about and one that I believe has the power to inaugurate a true renewal of sacred music.

There isn’t a church musician I know of who isn’t concerned about the state of church music in the western world, but rarely do I find one who knows what to do about it. Obviously our university system with its declining number of organ departments as well as choral conducting departments hasn’t provided the answer. Consider the current situation in music schools where students learn about Renaissance music for one semester and are assumed to have the skills necessary to tackle the repertoire. On the other hand, choristers in the English choral system begin singing large portions of the best of Renaissance music around the age of 9 or 10 and do it repeatedly for four and five years as sopranos. If they are boys they go through the same repertoire again as countertenors, tenors and basses during their time in the Oxbridge colleges. Which program do you think is more successful?

A number of these same students are already accompanying services on a regular basis at a young age. How many young organists in America are accompanying world class choirs and helping to train younger choristers in junior high? Which program do you think is more successful?

One might object that the English choral system is tied too closely to England and the Anglican community to present a model for Catholic parishes, but I would argue otherwise. Firstly, the English choral system grew out of  the monastic, collegiate and cathedral music foundations in existence long before the English Protestant Revolt. Secondly, the system is extremely diversified even among the English Cathedrals—there is no “one size fits all” way of executing it, and this diversity makes it extremely adaptable to other places. At the heart of this system is the development of a beautiful and natural vocal tone, musical literacy, and singing high quality liturgical music on a regular basis within the church service. There is nothing here that couldn’t be adapted to the people of Russia, South Africa, Argentina or the United States.

I would encourage those interested in the English choral tradition to read McGrath’s document and familiarize themselves with what actually constitutes a choral foundation and determine if this wouldn’t work for their parishes. Then read and learn about the three main forms of the English choral foundation.

In its highest form we find the true choir school, a boarding institution that educates only choristers. In reality, there are only two such institutions left in the world today, Westminster Abbey and St. Thomas, NY—and I doubt this avenue would be useful for most. The second form of choral foundation is the parochial school, usually a preparatory school of some kind, that educates both choristers and non-choristers, but makes the necessary allowances for the musical education of the former. This model is perfect for many Catholic parishes sporting an attached school. Lastly, we find the after-school model, where choristers are drawn from the surrounding schools and educated either before or after school. This construct might easily serve the school-less parish or the parish with a school music program that has not yet been brought under the vision of a pastor who wants to implement the Modern Roman Rite in continuity with the Older Form and the hopes of the Second Vatican Council. The author also gives advice for implementing each of these options.

One last point McGrath makes is how important it is that choral foundations are properly supported. In England the force of tradition as well as that of the monarchy and parliament (many of these institutions are enshrined in law and supported by taxpayer money) ensure their continuation, but such is not the case in America. Instead he suggests that it is the the pastor (and I dare say the bishop) who must support the formation and continuation of good choral foundations (this is why good formation in seminaries is essential). I believe that the more the clergy realize that such schools are important centers for Christians formation, the more they will support them.

I also hear complaints (well founded) that these institutions are not cheap, but restructuring the budget in 50% of parishes would probably do the trick. Lastly, I realize that there aren’t the musicians around to found such choir schools, but the more choral institutions are founded in the US, the more great musicians will be fostered.

I want to paint a picture of what such places could accomplish in the Church. There are currently almost 200 cathedrals in the United States. If each of these cathedrals were to found a choral institution of some kind, each graduating approximately 10 children per annum, that would mean 2000 young people receiving such a formation each year. Within one generation (20 years) 40,000 young people would have been formed in the Church’s vision for the Sacred Liturgy and music. That would be an absolute game changer. Until we start forming our youth in the Church’s treasury of sacred music we will continue contracepting our musical future to death.

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

Filed Under: Articles Last Updated: January 1, 2020

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About Dr. Lucas Tappan

Dr. Lucas Tappan is a conductor and organist whose specialty is working with children. He lives in Kansas with his wife and four children.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    Why A “Fugue” Here?
    I believe I know why this plainsong harmonizer created a tiny fugue as the INTRODUCTION to his accompaniment. Take a look (PDF) and tell me your thoughts about what he did on the feast of the Flight of Our Lord Jesus Christ into Egypt (17 February). And now I must go because “tempus fugit” as they say!
    —Jeff Ostrowski
    New Bulletin Article • “12 October 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 12 October 2025) talks about an ‘irony’ or ‘paradox’ regarding the 1960s switch to a wider use (amplior locus) of vernacular in the liturgy.
    —Jeff Ostrowski
    “Reminder” — Month of October (2025)
    Those who don’t sign up for our free EMAIL NEWSLETTER miss important notifications. Last week, for example, I sent a message about this job opening for a music director paying $65,000 per year plus benefits (plus weddings & funerals). Notice the job description says: “our vision for sacred music is to move from singing at Mass to truly singing the Mass wherein … especially the propers, ordinaries, and dialogues are given their proper place.” Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski

Quick Thoughts

    “American Catholic Hymnal” (1991)
    The American Catholic Hymnal, with IMPRIMATUR granted (25 April 1991) by the Archdiocese of Chicago, is like a compendium of every horrible idea from the 1980s. Imagine being forced to stand all through Communion (even afterwards) when those self-same ‘enlightened’ liturgists moved the SEQUENCE before the Alleluia to make sure congregations wouldn’t have to stand during it. (Even worse, everything about the SEQUENCE—including its name—means it should follow the Alleluia.) And imagine endlessly repeating “Alleluia” during Holy Communion at every single Mass. It was all part of an effort to convince people that Holy Communion was historically a procession (which it wasn’t).
    —Jeff Ostrowski
    “Canonic” • Ralph Vaughan Williams
    Fifty years ago, Dr. Theodore Marier made available this clever arrangement (PDF) of “Come down, O love divine” by P. R. Dietterich. The melody was composed in 1906 by Ralph Vaughan Williams (d. 1958) and named in honor of of his birthplace: DOWN AMPNEY. The arrangement isn’t a strict canon, but it does remind one of a canon since the pipe organ employs “points of imitation.” The melody and text are #709 in the Brébeuf Catholic Hymnal.
    —Jeff Ostrowski
    Did they simplify these hymn harmonies?
    Choirs love to sing the famous & splendid tune called “INNSBRUCK.” Looking through a (Roman Catholic) German hymnal printed in 1952, I discovered what appears to be a simplified version of that hymn. In other words, their harmonization is much less complex than the version found in the Saint Jean de Brébeuf Hymnal (which is suitable for singing by SATB choir). Please download their 1952 harmonization (PDF) and let me know your thoughts. I really like the groovy Germanic INTRODUCTION they added.
    —Jeff Ostrowski

Random Quote

“The Chasuble, or upper garment, represents the purple garment which the soldiers put upon Jesus Christ, and the heavy cross that He carried on His blessed shoulders to Mount Calvary.”

— Guide for the Laity (1875)

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  • “Reminder” — Month of October (2025)

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