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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

What really happened at the Convocation of Catholic Leaders

Christopher Mueller · July 25, 2017

102 Mueller OUNDS like a clickbait headline, huh? Or…did you even know that there had been a huge Convocation of Catholic Leaders, sponsored by the USCCB and held July 1-4 in Orlando, FL? There was, and it was quite an impressive and faith-filled event (as detailed here, here, and here), with around 150 bishops, 250 priests, 350 religious, and nearly 3,000 lay-faithful in attendance.

Bishop James Conley spoke of the “beautiful liturgies” at the event, and Kathryn Jean Lopez wrote about the “beautiful music and depths of prayer.” How do you make beautiful, prayerful liturgies in a hotel ballroom?

Credit goes to the publishers of Magnificat, who not only provided a beautiful liturgical booklet covering the whole enterprise, but also oversaw the decoration of the main stage with wonderful floral arrangements. Credit goes, too, to the USCCB itself, which showed images of vibrant medieval stained-glass windows on giant LED monitors, to give the ballroom a taste of majestic cathedrals and visually inspire all those gathered.

But I’d like to draw your attention to the liturgical music. The music was directed by the same team as the music at the Mercy Centre last year at World Youth Day, Kraków — that is to say, Rev. Łukasz Miśko, O.P. and me. There was a choir of sixteen singers, drawn from all over the U.S. (including two O.P. friars from Poland!), as well as an orchestra of seven expert Floridian instrumentalists. And the music was Catholic in the broadest sense, meaning universal:

— We sang Gregorian chant:
Christus resurgens (Gregorian plainsong, mode 8)

— We sang Renaissance polyphony:
Quia vidisti me (Estêvão de Brito)

— We sang Russian Orthodox chant:
The Beatitudes (Russian Orthodox Chant, arr. Richard Proulx)

— We chanted in a Byzantine style:
O Radiant Light (André Gouzes, O.P.)

— We sang traditional hymnody in Spanish:
Cantemos al amor (Ignacio Busca de Sagastizábal)

— We sang a lovely Mass setting by a contemporary Polish composer:
Sanctus, from Missa Spei (Ursula Rogala)

— We sang mystical Eucharistic texts in new musical settings:
Welcome, Bread of Life (Paweł Bębenek)

— We even sang a patriotic song toward the end of the 4th of July Mass:
America the beautiful (Samuel A. Ward)

You may be thinking, “Gosh, all that different sort of music. Won’t that induce liturgical whiplash?” But my answer is a resounding “no,” because of what the various pieces all have in common:

— they’re all choral works (even the unison chanting is meant for an ensemble of voices)

— they’re all beautiful pieces appropriate for the liturgy

— they draw from a wide swath of Christian (mostly Catholic) music, reminding us that beauty is not limited to a certain era or style

— and they were sung by a choir of devoted and faithful Catholics, who were praying through their song.

The music was very well-received, by everyone from bishops and priests to consecrated religious, lay faithful, people from a wide variety of ethnicities and backgrounds. Beauty opens hearts and inspires souls.

We encourage this authentically Catholic approach to music: if it can help people to pray, sing it!

*******

To see complete listings of the Mass music, click here.

To learn more about the Dominican Liturgical Center, the driving force behind this liturgical approach, click here.

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 Christopher Mueller

Christopher Mueller is a conductor and composer who aims to write beautiful music out of gratitude to God, Author of all beauty.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    “The Worm That Dieth Not”
    My pastor asked me to write a column for our parish bulletin with reflections on the sacred liturgy and church music. In my most recent article, I discuss “The Worm That Dieth Not.” At this website, you can access it conveniently; simply scroll down to the one dated 31 August 2025.
    —Jeff Ostrowski
    A Nice Hymn In Spanish
    In my humble opinion, this is a really beautiful hymn in Spanish. If I practice diligently, I’ll be able to pronounce all the words properly. If you’re someone who’s interested in obtaining a melody only version (suitable for your congregational ORDER OF WORSHIP) you can steal that from this.
    —Jeff Ostrowski
    “Music List” • 21st in Ordinary Time (Year C)
    Our choir returns on Sunday, 24 August 2025. Some have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for it, which is the 21st 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 spectacular feasts website. When it comes to the feast of the Assumption (15 August 2025), I have uploaded the music list for that Mass—but not the “bi-lingual” Mass in the evening (Spanish, Latin, and English) which has completely different music.
    —Jeff Ostrowski

Quick Thoughts

    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
    Pope Pius XII Hymnal?
    Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.
    —Corpus Christi Watershed
    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed

Random Quote

“All those who take part in sacred music, as composers, organists, choir directors, singers, or musicians should above all give good example of Christian life to the rest of the faithful because they directly or indirectly participate in the sacred liturgy.”

— Directive issued under Pope Pius XII on 3 Sept. 1958

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