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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

Impressions from Sacred Music Colloquium 2018

Dr. Lucas Tappan · July 3, 2018

88369 BISHOP PERRY N CATHOLIC CIRCLES we often joke that not even God Himself knows how much money the Jesuits really have, the truth of which I witnessed on parade at the beautiful Loyal University waterfront campus in Chicago, host for the CMAA’s 2018 Sacred Music Colloquium last week. I thought today I would share with readers some of my impressions of the wonderful events that took place.

Holiness and Friendship: Saints tend to come in batches, one friend encouraging another, which I found no less true for those I met at the Colloquium. Men and women, priests and religious from all backgrounds and walks of life (my roommate was a priest from Nigeria!), arrived in Chicago, but all were animated by the common goal of Heaven. All were striving for holiness, a witness so important for the world today. Pope Benedict once mentioned that Beauty, especially in the lives of the saints would convert the world, and I was both edified and encouraged by the desire for holiness I saw in so many at the colloquium. This naturally resulted in the deepening of old friendships and the creation of new, lasting friendships built on and in Christ—friendships that will endure.

Beauty and Transcendence: If the Holy Eucharist truly is the source and summit of our Catholic Faith and if all we do as Christians and as musicians comes from and returns to the God the Father, through Christ and in the Holy Spirit in the Sacred Liturgy, then our worship of almighty God is of primary and paramount importance, and so it follows that how we pray affects how we believe, and how we believe affects how we act. The beauty and solemnity in the way the priests celebrated the Holy Masses and the Divine Office spoke not only to a hermeneutic of continuity with all the Church has taught and professed throughout Her 2000 year history, but also spoke to what they themselves believed about God. I found this both inspiring and challenging.

As an aside, it always strikes me that the more we try to make the Mass understandable, the more we try to bring it down to the level of “common humanity,” the harder time I have remembering that Christ is all holy and all powerful and that He loves me with a love so  deep that He willingly endured His Passion and Death in order to open the gates of Heaven to me. The beauty and transcendence of the Sacred Liturgies at the Colloquium reminded me of just how all powerful Christ is and how much He must have loved mankind to willingly step down from His thrown, so to speak, and do what He did. When Christ is presented and worshipped as if He were a mix between Ralph Nader and Maya Angelou (I think these are Peter Kreeft’s words) prayer becomes difficult for me, but the Masses and Divine Office of the Colloquium truly flooded my soul with peace, and yet challenged me to confront my sinfulness and open myself to God’s healing and Almighty Hand.

Awe for the Workers in God’s Vineyard: I was truly edified by those who work so hard in the field of Sacred Music. I met men and women who chose to attend the Colloquium because they wanted to learn how to make this music in order to transform their parishes and they realized the task fell to them alone to make that happen. I was also surprised and edified by the number of young men and women who are entering the field of Sacred Music professionally and who desire to be supremely competent in their craft. As we know, there is often a false dichotomy presented in the Church today between the professional musician and the faithful disciple, and many participants I met were living proof that professional competency and discipleship are both possible and necessary.

Hope: I realize there is a lot of confusion in the Church today, most of it self-inflicted, and while it is easy to become discouraged, don’t despair. I see so many reasons to hope for the future. At the same time, the musicians I met realized that this hope must be grounded in a healthy acknowledgment that the survival and ultimate flourishing of the Faith in the western world is by no means assured, only possible if we continue to pray and work and spend our lives in the service of God’s Holy Will. There is a healthy dose of very potent leaven in the world today, but it is up to us to kneed the dough and and bring to fruition the bread that God desires. Of course, this is only possible if we are grounded deeply in prayer, especially in the prayer of the Sacred Liturgy.

Fun: I confess wholeheartedly to being a musical geek and that the most fun I had at the Colloquium was on the last day when a number of folks had already left and the choirs needed extra male singers to fill the choral ranks. Mass was celebrated in the Extraordinary Form for the Commemoration of St. Paul and the choirs sang Palestrina’s Missa Aeteran Christi munera. I had never sung this Mass before, which meant sight-singing with no chance of a “do-over.” Scott Turkington joined the choir to my left and Peter Carter of St. John the Baptist Latin Mass Community joined to my right and the sound was glorious! I could have done that all day.

If you have never been I strongly encourage you to do so—you won’t regret it.

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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President’s Corner

    PDF Comparison Chart • “Serious Problems with the Lectionary Translation”
    EARS BEFORE truly revolutionary changes were introduced by the post-conciliar reformers, Evelyn Waugh wrote (on 16 August 1964) to John Cardinal Heenan: “I think that a vociferous minority has imposed itself on the hierarchy and made them believe that a popular demand existed where there was in fact not even a preference.” We ask the kind reader— indeed, we beg you—to realize that those of us born in the 1940s and 1950s had no cognizance of Roman activities during the 1960s and 1970s. We were concerned with making sure we had the day’s bus fare, graduating from high school, taking care of our siblings, learning a trade, getting a job, courting a spouse. We questioned neither the nuns nor the Church.1 Do not believe for one instant any of us were following the liturgical machinations of Cardinal Lercaro or Father Bugnini in real time. Setting The Stage • To never question or resist Church authorities is praiseworthy. On the other hand, when a scandalous situation persists for decades, it must be brought into focus. Our series will do precisely that as we discuss the Lectionary Scandal from a variety of angles. We don’t do this to attack the Catholic Church. Our goal is bringing to light what’s been going on, so it can be fixed once and for all. Our subject is extremely knotty and difficult to navigate. Its complexity helps explain why the situation has persisted for such a long time.2 But if we immediately get “into the weeds” we’ll lose our audience. Therefore, it seems better to jump right in. So today, we’ll explore the legality of selling these texts. A Word On Copyright • Suppose Susie modifies a paragraph by Edgar Allan Poe. That doesn’t mean ipso facto she can assert copyright on it. If Susie takes a picture of a Corvette and uses Photoshop to color the tires blue, that doesn’t mean she henceforth “owns” all Corvettes in America. But when it comes to Responsorial Psalm translations, certain parties have been asserting copyright over them, selling them for a profit, and bullying publishers vis-à-vis hymnals and missals. Increasingly, Catholics are asking whether these translations are truly under copyright—because they are identical (or substantially identical) to other translations.3 Example After Example • Our series will provide copious examples supporting our claims. Sometimes we’ll rely on the readership for assistance, because—as we’ve stressed—our subject’s history couldn’t be more convoluted. There are countless manuscripts (in Greek, Hebrew, and Latin) we don’t have access to, so it would be foolish for us to claim that our observations are somehow the ‘final word’ on anything. Nevertheless, we demand accountability. Catholics in the pews are the ones who paid for all this. We demand to know who specifically made these decisions (which impact every English-speaking Catholic) and why specifically certain decisions were made. The Responsorial Psalms used in America are—broadly speaking—stolen from the hard work of others. In particular, they borrowed heavily from Father Cuthbert Lattey’s 1939 PSALTER TRANSLATION:
    *  PDF Download • COMPARISON CHART —We thank the CCW staff for technical assistance with this graph.
    Analysis • Although certain parties have been selling (!!!) that translation for decades, the chart demonstrates it’s not a candidate for copyright since it “borrows” or “steals” or “rearranges” so much material from other translations, especially the 1939 translation by Father Cuthbert Lattey. What this means in layman’s terms is that individuals have been selling a translation under false pretenses, a translation they don’t own (although they claim to). To make RESTITUTION, all that money will have to be returned. A few years ago, the head of ICEL gave a public speech in which he said they give some of “their” profits to the poor. While almsgiving is a good thing, it cannot justify theft. Our Constant Theme • Our series will be held together by one thread, which will be repeated constantly: “Who was responsible?” Since 1970, the conduct of those who made a profit by selling these sacred texts has been repugnant. Favoritism was shown toward certain entities—and we will document that with written proof. It is absolutely essential going forward that the faithful be told who is making these decisions. Moreover, vague justifications can no longer be accepted. If we’re told they are “making the translations better,” we must demand to know what specifically they’re doing and what specific criteria they’re following. Stay Tuned • If you’re wondering whether we’ll address the forthcoming (allegedly) Lectionary and the so-called ABBEY PSALMS AND CANTICLES, have no fear. We’ll have much to say about both. Please stay tuned. We believe this will end up being the longest series of articles ever submitted to Corpus Christi Watershed. To be continued. ROBERT O’NEILL Former associate of Monsignor Francis “Frank” P. Schmitt at Boys Town in Nebraska JAMES ARNOLD Formerly associated w/ King’s College, Cambridge A convert to the Catholic Church, and distant relative of J. H. Arnold MARIA B. Currently serves as a musician in the Roman Catholic Diocese of Charlotte. Those aware of the situation in her diocese won’t be surprised she chose to withhold her last name.
    1 Even if we’d been able to obtain Roman journals such as NOTITIAE, none of them contained English translations. But such an idea would never have occurred to a high school student or a college student growing up in the 1960s. 2 A number of shell corporations claim to own the various biblical translations mandated for Roman Catholics. They’ve made millions of dollars selling (!) these indulgenced texts. If time permits, we hope to enumerate these various shell corporations and explain: which texts they claim to own; how much they bring in each year; who runs them; and so forth. It would also be good to explore the morality of selling these indulgenced texts for a profit. Furthermore, for the last fifty years these organizations have employed several tactics to manipulate and bully others. If time permits, we will expose those tactics (including written examples). Some of us—who have been working on this problem for three decades—have amassed written documentation we’ll be sharing that demonstrates behavior at best “shady” and at worst criminal. 3 Again, we are not yet examining the morality of selling (!) indulgenced texts to Catholics mandated to use those same translations.
    —Guest Author
    “Music List” • 17th in Ordinary Time (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 17th Sunday in Ordinary Time (27 July 2025). 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 the feasts website.
    —Jeff Ostrowski
    Communion • “Ask & You Shall Receive”
    All of the chants for 27 July 2025 have been added to the feasts website, as usual under a convenient “drop down” menu. The COMMUNION ANTIPHON (both text and melody) are exceedingly beautiful and ancient.
    —Jeff Ostrowski

Quick Thoughts

    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
    Antiphons Don’t Match?
    A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).
    —Corpus Christi Watershed

Random Quote

“One must pray to God not only with theologically precise formulas, but also in a beautiful and dignified way. The Christian community must make an examination of conscience so that the beauty of music and song will return increasingly to the liturgy.”

— Pope Saint John Paul II (26 February 2003)

Recent Posts

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  • “Music List” • 17th in Ordinary Time (Year C)
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  • Communion • “Ask & You Shall Receive”
  • Jeff’s Mother Joins Our Fundraiser

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