• Skip to primary navigation
  • Skip to main content
  • Skip to primary sidebar

Corpus Christi Watershed

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.”

  • Donate
  • Our Team
    • Our Editorial Policy
    • Who We Are
    • How To Contact Us
    • Sainte Marie Bulletin Articles
    • Jeff’s Mom Joins Fundraiser
  • Pew Resources
    • Brébeuf Catholic Hymnal
    • Jogues Illuminated Missal
    • Repository • “Spanish Music”
    • KYRIALE • Saint Antoine Daniel
    • Campion Missal, 3rd Edition
  • MUSICAL WEBSITES
    • René Goupil Gregorian Chant
    • Noël Chabanel Psalms
    • Nova Organi Harmonia (2,279 pages)
    • Roman Missal, 3rd Edition
    • Catechism of Gregorian Rhythm
    • Father Enemond Massé Manuscripts
    • Lalemant Polyphonic
    • Feasts Website
  • Miscellaneous
    • Site Map
    • Secrets of the Conscientious Choirmaster
    • “Wedding March” for lazy organists
    • Emporium Kevin Allen
    • Saint Jean de Lalande Library
    • Sacred Music Symposium 2023
    • The Eight Gregorian Modes
    • Gradual by Pothier’s Protégé
    • Seven (7) Considerations
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

Subscribe

It greatly helps us if you subscribe to our mailing list!

* indicates required

Primary Sidebar

Corpus Christi Watershed

President’s Corner

    Typo in the “Missale Romanum” (1962)
    The 1962 MISSALE ROMANUM was a transitional missal. It was on its way to becoming the 1970 version, but wasn’t there yet. It eliminated certain duplications, downplayed the Prayers at the Foot of the Altar, expanded the role of laymen, minimized the Last Gospel, made many items optional, and so forth. Father Valentine Young spotted many typos in the 1962 MISSALE ROMANUM, especially incorrect accents. The Offertory Antiphon for this coming Sunday (OF kalendar) contains an error, citing the wrong verse from Psalm 118. It should be 118:107b, not 118:154. If you read verse 154, you’ll understand how that error crept in. [In this particular case, the error pre-dates the 1962 Missal, since the 1940s hand-missal by Father Lasance also gets it wrong.]
    —Jeff Ostrowski
    “Music List” • 30th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 26 October 2025, which is the 30th Sunday in Ordinary Time (Year C). If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are conveniently stored at the top-notch feasts website alongside the official texts in Latin.
    —Jeff Ostrowski
    Little Encouragement?
    In the Gospel, our Savior tells about 10 lepers who were healed. Only one went back to give thanks. Precious few express gratitude, yet many have endless energy to complain. For that reason, I deeply appreciate receiving messages like the following, which arrived a few days ago (about the parish where I direct in Michigan): “Last Sunday, a couple I knew from Grand Rapids was at Mass at 10:00 a.m. I got a chance to talk to them after Mass. I wanted to let you know what they said about the choir. They were absolutely floored by our sound!!!!! They both said they could continuously listen to our choir and the beauty of it. They asked me: “Do you always sound like that?” And they were also very surprised at how packed the church was. They said it was nice for them to be in such a full church. I just thought you would be interested to know their thoughts about our choir.”
    —Jeff Ostrowski

Quick Thoughts

    “Our Father” • Musical Setting?
    Looking through a Roman Catholic Hymnal published in 1859 by Father Guido Maria Dreves (d. 1909), I stumbled upon this very beautiful tune (PDF file). I feel it would be absolutely perfect to set the “Our Father” in German to music. Thoughts?
    —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
    “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

Random Quote

“Of course, the new [Easter Vigil] liturgy has greatly streamlined the symbology. But the exaggerated simplification has removed elements that used to have quite a hold on the mindset of the faithful. […] Is this Easter Vigil liturgy definitive?”

— Paul VI to Virgilio Noè (10 April 1971)

Recent Posts

  • PDF Downloads • Four (4) Simple Pieces in Harmony for Men’s Choirs
  • Typo in the “Missale Romanum” (1962)
  • “Music List” • 30th in Ordinary Time (Year C)
  • “Our Father” • Musical Setting?
  • Little Encouragement?

Subscribe

Subscribe

* indicates required

Copyright © 2025 Corpus Christi Watershed · Isaac Jogues on Genesis Framework · WordPress · Log in

Corpus Christi Watershed is a 501(c)3 public charity dedicated to exploring and embodying as our calling the relationship of religion, culture, and the arts. This non-profit organization employs the creative media in service of theology, the Church, and Christian culture for the enrichment and enjoyment of the public.