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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 3 of 3)

Guest Author · July 19, 2017

BELOW IS THE FINAL 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 can be read here. Part Three considers 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.


Perfect Example of the Blessed Virgin Mary


110 Mary HAT CREATURE better exemplifies this inner dialogue of the soul than the Blessed Virgin Mary?

We know from scripture that she:

“kept all these words in her heart”
(Luke 2:51)

“kept all these words, pondering them in her heart.”
(Luke 2:19)

What is the nature of this inner pondering? In Sacred Scripture, the book of Wisdom gives us some insight on these “words” and her “pondering them in her heart”:

“When I go into my house, I shall repose myself with her: for her conversation hath no bitterness, nor her company any tediousness, but joy and gladness. Thinking these things with myself, and pondering them in my heart, that to be allied to wisdom is immortality, and that there is great delight in her friendship, and inexhaustible riches in the works of her hands, and in the exercise of conference with her, wisdom, and glory in the communication of her words: I went about seeking, that I might take her to myself.”
(Wisdom 16:18)

This passage can plainly be understood as inner dialectic and self reflection:

“conversation” … “with myself” …

“pondering them in my heart”
(direct reference to the BVM in Luke chapter 2 verses 19 and 51)

“conference”

“communication”

“seeking”
(inquiry, questioning which implies someone being asked, which implies dialogue)

By this inner self reflecting dialectic the knowledge of the things we ponder is perfected. By inquiry upon inquiry we magnify what is known in order to see it in a more detailed analysis or different perspective. This greater magnification will aid the intellect to specify particulars and resolve conflicts. The Blessed Virgin Mary proclaims the fruits of her inner pondering and reflection:

“And Mary said: My soul doth magnify the Lord.
And my spirit hath rejoiced in God my Savior.”
(Luke 1:46-47)

If Mary’s Magnificat can be understood as an inner dialogue of self reflection toward perfection—the fruits of which are to “rejoice in God” her Savior—then it must follow that we find in her the greatest most edifying example of a Christian soul to be imitated.


Conclusion


N the 1903 Motu Proprio: “Tra le Pius X, Tra le sollecitudini” Pope St. Pius X wrote that the polyphonic choral style “reached its greatest perfection in the fifteenth century, owing to the works of Pierluigi da Palestrina.” This perfection was contingent upon the understanding of the rationality of music and the musical scale. This understanding grew out of the ideals that flourished throughout Medieval Christendom.

The Roman polyphonic style, as perfected in the imitative works of Palestrina, is an aurally perceived type of the immaterial power of the human soul to “self reflect.” This ability to “self reflect” is a participation in the Divine nature. Because this music is structured upon musical dialectics that reflect the divine nature, it appeals to the highest attributes of the human rational mind and soul. It magnifies and elucidates the sacred texts of the Catholic Liturgy that tend toward the contemplation of the good, true and beautiful. The musical phrases as stated in one voice, then restated in another differing in melodic and rhythmic expression, are one in harmonic union. This union augments, intensifies and magnifies texts of the liturgy. In this dialogue one can hear the echo of heaven. Not a dialogue of argument or polemics but an ever elucidating and unfolding of perfection.

For references and footnotes, please visit: Palestrina Choir School


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

    PDF Download • “Offertory” for this Sunday
    This coming Sunday, 12 October 2025, is the 28th Sunday in Ordinary Time (Year C). Its OFFERTORY ANTIPHON (PDF) is gorgeous, and comes from the book of Esther, as did the ENTRANCE CHANT last Sunday. Depending on a variety of factors, various hand-missals (all with Imprimatur) translate this passage differently. For instance, “príncipis” can be rendered: King; Prince; Lion; or Fierce lord. None is “more correct” than another. It depends on what each translator wants to emphasize and which source text is chosen. All these pieces of plainsong are conveniently stored at the blue-ribbon feasts website.
    —Jeff Ostrowski
    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 example) 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
    “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

    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
    “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

Random Quote

Soloists are dangerous in any church choir! Their voices frequently do not blend with those of the other singers to form a rich, integrated tone.

— Roger Wagner

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