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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.”

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Views from the Choir Loft

In Search of the Deeper Meaning

Dr. Lucas Tappan · June 25, 2019

LMT Domspatzen ay a garland on her hearse…Upon her buried body lie lightly, thou gentle earth.

Pearsall’s setting of these mournful lyrics came to a gentle close, but no one spoke… no one could speak. Never before had I experienced a work so beautifully sung and the experience will remain with me as long as my mind endures. Everyone that day knew he had taken part in something incredible, something otherworldly that might never be repeated. Such was and is the power of music.

I have heard it said that magic shows up at every concert but usually goes home disappointed and George Guest, the legendary conductor of the Choir of St. John’s College, Cambridge, noted that those otherworldly moments in music were rare indeed. Nevertheless, in striving for those moments I believe we raise our choirs to an unbelievably high standard and create music  worthy for the temple (if ever we could do such a thing), music that possesses the power to move minds and hearts. Of course this begs the question, How does one do that?

Fr. William Finn, whom I wrote about last week, noted that most conductors who came to him for advice usually wanted nothing more than a few tricks they could take home to their choirs. They rarely desired to learn those things necessary to breathe life into the music. Yes, choirs need to sing on key, to come in together and to cut off together. They should blend their vowels and produce their consonants rhythmically, but a choir might do all of this and still never reach the outer bounds of beauty’s realm. In short, such a choir would utterly fail to communicate. It isn’t enough to merely understand the words, one must needs enter into the words and ultimately into THE WORD. Quite frankly, this is a herculean task that requires a lifetime of education. For those of you who have read David Clayton’s The Way of Beauty (which I highly recommend), you will understand when I say that it also requires the gift of grace. Regardless, I do believe it possible to point the budding musician into the Way of Beauty.

First of all, it must be said that the mechanics of beautiful music must be present. The right notes matter, as do a host of other things. Beyond the mechanics, however, especially if I were pressed to give one piece of advice, I would point to the text. The text is paramount. Unfortunately, though, we inhabit a very un-poetic world unable to cope with anything deeper than the merely technical in language, which has crippled our ability to understand and finally to communicate.

I would like to delve more into this topic next week, but I will leave the reader with this very simple example. Below is a video of the Regensburger Domspatzen singing two verses of Adeste fideles, the first verse in Latin and the second in German. Listen specifically to the way in which the words and phrases are shaped as well as the way in which the rhythm moves the text. Is there a deeper understanding we gain of the carol’s meaning through the way in which this choir sings it? How does the way in which it is sung convey that deeper meaning? This is where the true are of the choir master begins.

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

    “Music List” • 29th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 19 October 2025, which is the 29th 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 sensational feasts website alongside the official texts in Latin.
    —Jeff Ostrowski
    Liturgical Round (“Canon”) in C-Major
    Those who direct children’s choirs are always on the lookout for repertoire that’s dignified, inspired, and pleasing—yet still within reach of young choristers. Such directors will want to investigate this haunting liturgical round (PDF download) which has been married to the KYRIE from Mass VI (EDITIO VATICANA). I have provided an accompaniment, but it’s only for use during rehearsal; i.e. when teaching this round to your choristers. I also provided an organ accompaniment for the KYRIE—which some know by its trope (Kyrie Rex Genitor)—so that your congregation can take part when this round is used as a choral extension during Mass.
    —Jeff Ostrowski
    Latin Liturgy Association
    We note with pleasure that Mrs. Regina Morris, president of the Latin Liturgy Association, has featured—on page 4 of Volume CXXIX of their official newsletter—the three (3) terrific versions of the Stations of the Cross found in the Brébeuf Hymnal. One of the main authors for the blog of the Church Music Association of America said (6/10/2019) about this pew book: “It is such a fantastic hymnal that it deserves to be in the pews of every Catholic church.”
    —Corpus Christi Watershed

Quick Thoughts

    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
    “Canonic” • Ralph Vaughan Williams
    Fifty years ago, Dr. Theodore Marier made available this clever arrangement (PDF) of “Come down, O love divine” by P. R. Dietterich. The melody was composed in 1906 by Ralph Vaughan Williams (d. 1958) and named in honor of of his birthplace: DOWN AMPNEY. The arrangement isn’t a strict canon, but it does remind one of a canon since the pipe organ employs “points of imitation.” The melody and text are #709 in the Brébeuf Catholic Hymnal.
    —Jeff Ostrowski

Random Quote

To end an impropriety, noticed particularly at orchestral Vespers, when two or three Psalms are sung with full orchestra, and then the other Psalms and the Hymn are rapidly hurried through with organ accompaniment only […] we order that at Mass all portions of the text, including “Agnus Dei,” be sung with orchestral accompaniment. […] Moreover, the musicians are not allowed to put the instruments away and leave their places before the conclusion of the sacred function.

— Cardinal Patrizi (18 November 1856)

Recent Posts

  • “Music List” • 29th in Ordinary Time (Year C)
  • Fulton J. Sheen + this Sunday’s “Entrance Chant”
  • Children’s Repertoire • Three More Recommendations by Keven Smith
  • Liturgical Round (“Canon”) in C-Major
  • PDF Download • Liturgical Round (“Canon”) for your Children’s Choir

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