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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

Composition with Pencil & Paper or Computer Software?

Fr. David Friel · June 25, 2017

HIS PAST week, which I spent in St, Paul, MN attending the annual CMAA Sacred Music Colloquium, was filled with many blessings. It was a week replete with academic keynotes to stimulate the mind, friendly conversations to strengthen the heart, and beautiful liturgies to move the soul.

Over lunch one day, I had a wonderful discussion with two other participants on the topic of music composition. Both of these musicians have degrees in composition, and one works actively as a full-time composer. So I took the opportunity to ask two questions that seemed worthwhile, even though I was fairly sure I knew the answers.

First, I asked if they compose using pencil and paper or a computer program. Predictably, they both said pencil and paper.

Second, I asked if they compose at a desk or at a keyboard. As you might expect, both said at their desks.

The discussion continued by observing how much the art of composition has changed in recent centuries. One of my lunchmates pointed out that the advent of computer software is perhaps not the biggest change composition has undergone since the medieval period. Arguably more significant is the adoption of the modern score. We are accustomed, in our time, to seeing full scores written out that include all vocal lines and instrumentation written out in measures that align vertically on the page. Until the 17th century or so, though, manuscripts were not written in this way. Compositions were, instead, written out for each individual part in separate “part books.”

This latter method is how such musicians as the 16th-century Palestrina would have composed. Can we even imagine the mental acumen that this style of composition necessitates? The sharpness of memory and breadth of vision this requires is certainly more demanding than what is required when composing in the fashion of a modern score. The effect of this practice upon the composer was undoubtedly a vivid appreciation for each musical line as a beautiful, integral whole.

Still more, it is worth considering that composers like Palestrina did not have CD collections or iTunes accounts. All their experiences of hearing sacred music, rather, were live performances. How different this is from our digital age, in which most musicians (and people generally) are inundated with recorded music.

Speaking of composition, one of my favorite parts of the colloquium each year is the new music breakout group. The idea is that composers (who range from hacks like me to rather polished artists) bring new pieces they are working on to be read through by the group, which usually includes 8 or 10 people. After sight-singing each piece, the members of the group offer feedback to each other. The composers use these constructive critiques to revise their manuscripts throughout the week, so that by the final day of the breakout, their work is either finished or at least improved. The final session is opened to all colloquium participants so that they can see and sing the revised compositions.

The annual Sacred Music Colloquium is a great opportunity to learn more about chant, polyphony, conducting, organ playing, etc. It is also a phenomenal venue for networking with other music directors, choir members, organists, clergy, etc. The colloquium draws together a wide array of people who love sacred music, and it has been known to forge new friendships.

Next year’s colloquium will be held at Loyola University in Chicago from June 25-30, 2018. If you have never attended a colloquium—or if you haven’t attended one in a while—plan ahead for next year.

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

Filed Under: Articles Tagged With: Church Music Association of America CMAA, Sacred Music Colloquium Last Updated: January 1, 2020

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About Fr. David Friel

Ordained in 2011, Father Friel is a priest of the Archdiocese of Philadelphia and serves as Director of Liturgy at Saint Charles Borromeo Seminary. —(Read full biography).

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Corpus Christi Watershed

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 Humanists abominated the rhythmical poetry of the Middle Ages from an exaggerated enthusiasm for ancient classical forms and meters. Hymnody then received its death blow as, on the revision of the Breviary under Pope Urban VIII, the medieval rhythmical hymns were forced into more classical forms by means of so-called corrections.”

— ‘Father Clemens Blume, S.J.’

Recent Posts

  • “Novus Ordo Parish … With Polyphony?” • Is that possible? How specifically does that work?
  • “The Injustice of Traditionis Custodes” • (Private Meetings at the Vatican)
  • New Bulletin Article • “14 September 2025”
  • PDF Download • Croft’s “Canonic Kyrie” (SATB)
  • Karl Keating • “Canonization Questions”

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