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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

A Call to Educate Our Future Musicians

Dr. Lucas Tappan · July 24, 2019

“My tastes are simple: I am easily satisfied with the best.” Winston Churchill


LMT Winston Churchill ANY EPITHETS can be applied to Winston Churchill, but mediocre isn’t one of them. When the going got rough, he got rougher. When the stakes were high, he upped the ante. When all seemed on the verge of collapse and surrender, he had already planned the victory. He never, never, never gave in.

Contrast this with Catholicism in the West, where the Church in Her human elements has not only surrendered to secularism, but seems eager to close the lid of Her own coffin. In the midst of such a fait accompli the cry of the church musician for better music is almost laughable. But… perhaps we need a better perspective.

We must remember that those who work for the Church’s destruction are not hacking away at Her trunk as they so often think, they are merely sit on what is already a dead branch in need of pruning. Quite comically, their spiritual, theological and historical eyes are so narrow and nearsighted that they can’t see they are pruning on the wrong side of where they sit. No doubt their rotten branch will crash with a resounding thud, with them on it, but only to the relief of the rest of the tree, which is already in new leaf.

The Sacred Liturgy, bruised and battered though she may be, is emerging from a long winter and the Face of Christ shines more brightly in it. Christ awaits the voice of His beloved to respond to His call once again and the Church needs the musician for this response.

If we expect church musicians worthy of the name to step forward, then we need to train them, which I am happy to say is taking place in more and more areas. We might not yet have reached critical mass, but the mass we have is critical and is growing. Now is the time to push forward rather than to despair.

Each summer I spend two separate weeks at Benedictine College in Atchison, KS, working with high school students who are interested in vocal music and I always spend some of our time together exploring the sublime world of sacred music. Most of these students, without ever having studied the Church’s documents on liturgical music, have an innate sense that our sacred mysteries require sacred music… and they WANT IT!

Within the last few weeks we saw the hiring of James Kennerley at St. Paul’s, Harvard Square, while our very own Richard Clark posted on other wonderful things going on for children in the archdiocese of Boston. Kevin Allen was recently named the music director of St. John Cantius in Chicago, which boasts thriving choirs for children, and Charles Cole and the Schola Cantorum of the London Oratory are currently on tour through a number of western states. This is just a smattering of the good things going on in the realm of sacred music in our larger cities and metropolitan areas, but what about smaller towns and the midwest?

Right here in Kansas, the geographical center of the contiguous states, I know of several parishes in my own archdiocese (here, here and here) where chorister programs are growing and great musicians are developing liturgical training programs for children. These things might seem slight to others, but even the greatest of forest fires begins very small and so will the advent of better music.

If it is true, as Chesterton put it, that “anything worth doing is worth doing badly,” then let’s roll up our sleeves and get started. If you are a music director and haven’t begun some sort of music training for the children in your parish for fear of it going badly, I tell you that whatever you do couldn’t be any worse than what children have been made to endure these last 55 years. Just begin!

Remember that Churchill was more often wrong than he was right, but when he was right, he was really right. Don’t be afraid of failure as long as you are willing to learn from the mistakes you make in front of your present or future choristers. If you model Christian discipleship alongside good musical leadership you will move your choristers and your program forward, just remember to keep your focus on real sacred music. Your choristers tastes are simple: [they are] easily satisfied with the best!

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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Corpus Christi Watershed

President’s Corner

    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
    “Music List” • 28th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 12 October 2025, which is the 28th 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 dazzling feasts website alongside the official texts in Latin.
    —Jeff Ostrowski

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

Friedman met Egon Wellesz in Altaussee on one of the walks, and Egon started to speak about atonal music—and Ignaz replied: “No, no, no. Melody for me.”

— From the Life of Ignazy Friedman

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  • PDF Download • Liturgical Round (“Canon”) for your Children’s Choir
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  • Important Quote by a Church Musician

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