• 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

The Sung Canon

Dr. Lucas Tappan · July 11, 2018

88282 CMAA HROUGHOUT MY LIFE I have been spared the ghastliest of liturgical abuses and aberrations within Mass—and in most cases, I can even write that these celebrations were both valid and licit. Yet, like most of my generation, such liturgies left me wondering if there was more to my Catholic Faith. Thanks to the wonderful teaching and example of my parents, this was never of question of doubt in God, or in His Goodness, Truth or Beauty, mind you, but rather a series of questions beginning with why:

Why is the God of the universe—Whom I know to be all-powerful, all-knowing and all-loving—presented to me as an effeminate man who willingly sacrifices all of his Goodness, Truth and Beauty and real charity in order to be nice?

Why is holiness—intimate friendship with God—sacrificed for those greater “virtues” of tolerance and niceness?

Why is Heaven—our glorious patria, our eternal homeland, made present in a veiled manner at every Holy Mass—presented as a place of niceness (which to a boy of 13 and 14 is code for BORING)?

I still remember the first time my family attended a Mass in the Extraordinary Form my freshman year in high school. The music was of no particular quality and I couldn’t relate a word of Father’s homily any more, but I do specifically remember it being awe-some in the deepest sense of the word—the very opposite of BORING. The fact that I asked the aforementioned questions was a particular grace of God. Unfortunately most of my schoolmates experienced BORING and simply left the Church. They never knew there was more—infinitely more.

If we hope to address this particular problem in the Ordinary Form, short of returning wholesale to the Extraordinary Form (which is another topic all together), we must work to restore a sense of mystery, transcendence and awe to the Sacred Liturgy. Otherwise we run the risk of lying to the faithful in the pew about Who God is and what He has done for us.

I was fortunate enough to attend the Sacred Music Colloquium last month and experience the Ordinary Form celebrated in continuity with the Church’s great liturgical tradition, devoid of the mundane and banal, which so often paralyze the work of the Holy Spirit in the lives of the faithful. One particularly poignant moment I recall took place during the Canon of the Mass on the Feast of Sts. Peter and Paul, when the priest, facing ad orientem and devoid of any amplification, chanted the Canon of the Mass. I was immediately struck by the awe-someness of the moment and my soul was filled with peace as its usual restlessness and fight against the BORING was banished. I have often attended Mass in the Ordinary Form celebrated ad orientem but have still struggled with the constant talking on the part of the priest at the most intimate moment of Mass, especially when a microphone is involved. Yet chanted, the words of the Canon take flight as prayer as opposed to mere talking, and when sung without the aid of a microphone, the words almost force the person in the pew to listen more intently. Prayer becomes natural as God is brought to the fore.

Since the Canon cannot be recited “silently” in the Ordinary Form, I wonder if chanting it might be one answer to the lack of transcendence we often encounter within Mass. Perhaps those priests who have personally tried this might offer advice based upon their experiences. Regardless, continue to turn toward the Lord in your heart and wait for Him in the silence of your interior room.

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

Filed Under: Articles Last Updated: January 1, 2020

Subscribe

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

* indicates required

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).

Primary Sidebar

Corpus Christi Watershed

President’s Corner

    Music List • (5th Sund. Ordinary Time)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for this coming Sunday, 8 February 2026, which is the 5th Sunday in Ordinary Time (Year A). If such a thing interests you, feel free to download it as a PDF file. You will probably notice it isn’t as ‘complete’ or ‘spiffy’ as usual, owing to some difficulties which took place this week.
    —Jeff Ostrowski
    PDF • “Communion” (5th Sunday in Ordin.)
    The COMMUNION ANTIPHON for this coming Sunday, 8 February 2026—which is the 5th Sunday in Ordinary Time (Year A)—is truly delightful. You can download the musical score completely free of charge. This text will be familiar to altar boys, because it’s PSALM 42. The Feder Missal makes the following claim about that psalm: “A hymn of a temple musician from Jerusalem: he is an exile in a heathen land, and he longs for the holy city and his ministry in the Temple there. The Church makes his words her own.”
    —Jeff Ostrowski
    Funeral Music “Template” • For Families
    Many have requested the MUSICAL TEMPLATE for funerals we give to families at our parish. The family of the deceased is usually involved in selecting Number 12 on that sheet. This template was difficult to assemble, because the “Ordo Exsequiarum” has never been translated into English, and the assigned chants and hymns are given in different liturgical books (Lectionary, Gradual, Order of Christian Funerals, and so on). Please notify me if you spot errors or broken links. Readers will be particularly interested in some of the plainsong musical settings, which are truly haunting in their beauty.
    —Jeff Ostrowski

Quick Thoughts

    “Reminder” — Month of Febr. (2026)
    On a daily basis, I speak to people who don’t realize we publish a free newsletter (although they’ve followed our blog for years). We have no endowment, no major donors, no savings, and refuse to run annoying ads. As a result, our mailing list is crucial to our survival. It couldn’t be easier to subscribe! Just scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski
    PDF Chart • “Plainsong Rhythm”
    I will go to my grave without understanding the lack of curiosity so many people have about the rhythmic modifications made by Dom André Mocquereau. For example, how can someone examine this single sheet comparison chart and at a minimum not be curious about the differences? Dom Mocquereau basically creates a LONG-SHORT LONG-SHORT rhythmic pattern—in spite of enormous and overwhelming manuscript evidence to the contrary. That’s why some scholars referred to his method as “Neo-Mensuralist” or “Neo-Mensuralism.”
    —Jeff Ostrowski
    PDF • “O Come All Ye Faithful” (Simplified)
    I admire the harmonization of “Adeste Fideles” by David Willcocks (d. 2015), who served as director of the Royal College of Music (London, England). In 2025, I was challenged to create a simplified arrangement for organists incapable of playing the authentic version at tempo. The result was this simplified keyboard arrangement (PDF download) based on the David Willcocks version of “O Come All Ye Faithful.” Feel free to play through it and let me know what you think.
    —Jeff Ostrowski

Random Quote

They were not ashamed to lay their hands on Sedulius, on Prudentius, on St. Ambrose himself. Only in one or two cases does some sense of shame seem to have stopped their nefarious work. They left “Ave maris stella,” “Jam lucis orto sidere,” and St. Thomas Aquinas’s hymns alone (they would have made pretty work of “Sacris solemniis”). In 1629 their mangled remnants were published.

— Rev’d Adrian Knottesford Fortescue (25 March 1916)

Recent Posts

  • Solfege Volleyball: A Children’s Choir Game
  • PDF Download • “2-Voice Hymn” (Holy Name)
  • Music List • (5th Sund. Ordinary Time)
  • Fulton J. Sheen • “24-Hour Catechism”
  • PDF • “Communion” (5th Sunday in Ordin.)

Subscribe

Subscribe

* indicates required

Copyright © 2026 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.