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Views from the Choir Loft

Music Conference in Rome (September 2018)

Fr. David Friel · July 7, 2018

HE VATICAN’S Pontifical Council for Culture (PCC) has announced that it is organizing another conference on sacred music this fall, in collaboration with the Pontifical Athenaeum Sant’Anselmo and the Pontifical Institute of Sacred Music. The PCC, which also organized a conference in March 2017, will host this event at Lumsa University in Rome.

The upcoming conference, scheduled for 13–15 September 2018, is entitled Church and Composers, Words and Sounds. The stated objective of this gathering is to consider the role of the composer in the life of the Church.

The announced program presents a wide range of speakers and topics, including:

“You heard the sound of words but saw no form:
there was only a voice (Dt 4:12)”

— Gianfranco Cardinal Ravasi
(President of the Pontifical Council for Culture)

“Historical Excursus: The Composing Style
of the Sistine Chapel for Papal Celebrations”

— Msgr. Massimo Palombella
(Director, Cappella Musicale Pontificia “Sistina”)

“Translations, Music and Composition”
— Archbishop Arthur Roche (Secretary, CDW)

“Composing for Christian Communities Today”
— John Rutter (Composer)

“Music and Philology”
— Thomas Forest Kelly
(Morton B. Knafel Research Professor of Music, Harvard University)

“Music and Formation” — Msgr. Vincenzo De Gregorio
(Head, Pontifical Institute of Sacred Music)

“‘I saw and heard the voices of many
around the throne’: the Pipe Organ”

— Simon Johnson
(Organist, St. Paul’s Cathedral, London)

“‘Praise him with the harp and . . . with the tambourine . . . ’
(Ps 150:3): Liturgical Inculturation and Musical Instruments”

— Fr. Olivier-Marie Sarr, OSB
(Liturgist, Pontifical Athenaeum Sant’Anselmo)

These proceedings are principally aimed at representatives of episcopal conferences and religious orders, musicians, curators of liturgical music, associations, and movements.

The three-day event will conclude with a concert in the Basilica Superiore at Assisi, within the context of the Francesco Siciliani Prize, an international competition for sacred music composition.

The March 2017 PCC conference was entitled Music and Church: Cult and Culture 50 Years after Musicam Sacram and included such speakers as Cardinal Ravasi, Michele Dall’Ongaro, Paul Inwood, Fr. Fergus Ryan, OP, and Fr. Jordi-A. Piqué, OSB. The acta of this conference have been published (Musica e Chiesa a 50 anni dalla Musicam Sacram) and are available here.

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

Filed Under: Articles Tagged With: Pontifical Institute Sacred Music Rome 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

    “Truly Great Processional” • (Pipe Organ)
    I stumbled upon this live recording of a PROCESSIONAL I played on the pipe organ in 2002. It’s an excerpt from a much longer composition by Sebastian Bach. In those days, there weren’t sophisticated recording devices allowing one “fix” wrong notes. (Perhaps they existed, but we didn’t have machines like that.) So it was necessary to play the entire piece from beginning to end. If you’re a church organist, feel free to download the PDF score. I suppose it’s only a matter of time until some joker uses “artificial intelligence” to play music at church … but there’s something so satisfying about playing an organ in real life.
    —Jeff Ostrowski
    Proof Which All Can Immediately See!
    “A little knowledge is a dangerous thing,” as the famous maxim goes. Over the years, I’ve observed malicious attacks on the Brébeuf Catholic Hymnal. Rather than scoring a ‘hit’ on the Brébeuf Hymnal, its attackers often reveal profound ignorance. I’ve been advised never to reply … but I break that rule today. Certain voices online assert that the Brébeuf Hymnal is “untraditional” because it includes both the Urbanite and pre-Urbanite versions of the hymns. But if only they would glance at a copy of the 1913 VESPERALE (printed by order of Pope Saint Pius X) they would see how mistaken such statements are.
    —Jeff Ostrowski
    New Bulletin Article • “8 June 2025”
    My pastor requested that I write short articles each week for the parish bulletin. Those responsible for preparing similar write-ups may find a bit of inspiration in these brief columns. The latest article includes a few anecdotes about Archbishop Fulton J. Sheen and Abraham Lincoln.
    —Jeff Ostrowski

Quick Thoughts

    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
    When to Sit, Stand and Kneel like it’s 1962
    There are lots of different guides to postures for Mass, but I couldn’t find one which matched our local Latin Mass, so I made this one: sit-stand-kneel-crop
    —Veronica Brandt
    The Funeral Rites of the Graduale Romanum
    Lately I have been paging through the 1974 Graduale Romanum (see p. 678 ff.) and have been fascinated by the funeral rites found therein, especially the simply-beautiful Psalmody that is appointed for all the different occasions before and after the funeral Mass: at the vigil/wake, at the house of the deceased, processing to the church, at the church, processing to the cemetery, and at the cemetery. Would that this “stational Psalmody” of the Novus Ordo funeral rites saw wider usage! If you or anyone you know have ever used it, please do let me know.
    —Daniel Tucker

Random Quote

“However well equipped and trained a choir may be, all its good points may be obscured by an unsuitable accompaniment. In fact the organist can, in a large measure, either make or mar his choir. It must be owned, however, that the accompanist of Plainsong has to contend with many difficulties. […] The purist will still find his best enjoyment of the chant when it is sung unaccompanied, but to most a becoming accompaniment gives an added charm.”

— Benedictines of Stanbrook (1905)

Recent Posts

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  • “Truly Great Processional” • (Pipe Organ)
  • “Re: Vigil Masses” • Reader Feedback (3 June 2025)
  • Proof Which All Can Immediately See!
  • New Bulletin Article • “8 June 2025”

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