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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

Stepping off the hamster wheel

Wilfrid Jones · January 11, 2020

VEN IF WE DON’T take into account the years of training, we all know the investment of time and effort it takes to get to the point where we can offer our musical services in the sacred liturgy: not only the hours of practice and performance, but also the time taken selecting appropriate music, printing or buying scores, travelling to and from practice and so forth. Hopefully it isn’t as much of a burden, but music is an inherently social activity, relying on strong and trusting relationships between musicians, so making sure to spend time with other musicians while not playing or singing also requires a commitment measured in hours. Nearly all of us have other professional commitments during the week and families to whom we owe our time. It’s understandable, therefore, that many liturgical musicians simply don’t feel they have time to undertake serious study of theology or musicology alongside all of their other commitments.

My professional commitments are as a secondary school teacher. Teachers are often warned of the danger of getting trapped in the “hamster wheel” of professional practice. We can be so caught up in the cycle of planning, delivering and marking lessons, that we never have time to step back and consider the bigger picture in a way that would improve how we do our jobs. It strikes me that the same is true of parish musicians. As ministers and servants of the sacred liturgy, we need the opportunity to think about the theory of what, how and why we engage in our vocation.

Following the call of Sacrosanctum Concilium for musicians to receive “a genuine liturgical training” and for clergy and religious to have a musical formation (SC 115), we need to develop a reflexive practice in order to be able to offer the best of ourselves. That you’re reading Corpus Christi Watershed might suggest that you already think that this should be part of your vocation.

One of the great helps as a teacher is the growth of education and pedagogy blogs. The best of these publish short articles on one idea at a time, sometimes with an example or a practical application, in a quick and readable form. Over the next months I will be writing articles for Corpus Christi Watershed in the same vein. I hope that their format will allow busy liturgical musicians time to revisit ideas they already knew, and introduce some ideas that might be new.

The other great benefit of education blogs is their ability to spark debate and dialogue between differing points of view. In the same way, any feedback you can offer would be warmly welcomed and I hope that your lived experience can contribute to future posts.

 

Copyright © 2020 Wilfrid Jones

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

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Filed Under: Articles Tagged With: Stepping off the hamster wheel Last Updated: May 1, 2020

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About Wilfrid Jones

Wilfrid Jones is a PhD student in the theology faculty of the Albert-Ludwigs University of Freiburg, studying the theology and practice of sacred music.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    Music List • (Palm Sunday, 2026)
    Readers have expressed interest in seeing the ORDER OF MUSIC I created for Palm Sunday—a.k.a. “Dominica in palmis de Passione Domini”—which is 29 March 2026. Please feel free to download it as a PDF file if such a thing interests you. The OFFERTORY (Impropérium exspectávit cor meum) is quite moving. Even though the COMMUNION ANTIPHON is relatively simple, the Fauxbourdon makes it sound outstanding.
    —Jeff Ostrowski
    Easter • Would You Sing This Hymn?
    He who examines Laudes Dei: a hymnal for Catholic congregations (St. Louis, 1894) will discover this pairing of a hymn for Easter. For the record, this isn’t the only Catholic hymn book to marry that text and melody; e.g. Saint Mark’s Hymnal for Use in the Roman Catholic Church in the United States (Peoria, 1910) does the same thing. Sometimes an unexpected pairing—chosen with sensitivity—can be superb, forcing singers to experience the text in a ‘fresh’ and wonderful way. On the other hand, we sometimes encounter something I’ve called “PERNICIOUS HYMN PAIRINGS.” If you find the subject in intriguing, feel free to peruse an article I published in May of 2023. As always, my email inbox is open if you have a bone to pick with my take.
    —Jeff Ostrowski
    Pipe Organ “Answers” in Plainsong?
    In 2003, I copied a book by Félix Bélédin (d. 1895), who was titular organist—from 1841 to 1874—at the Cathedral of Saint John the Baptist in Lyon (France). In 2008, we scanned and uploaded the book to the Lalande Online Library. Nobody knows for sure when the book was published; some believe it first appeared in the 1840s. In any event, one who examines this excerpt, showing GLORIA IX might wonder why it says the organ answers in plainsong. However, the front of the book explains, telling the organist explicitly when to “respond in plainchant.” This is something called organ alternatim. Believe it or not, the pipe organ would take turns with the choir, playing certain texts instrumentally instead of having them sung. I’m not very well-versed in this—pardon the pun—but if memory serves, ORGAN ALTERNATIM was frowned upon by the time of Pope Saint Pius X. Nevertheless, French organists kept doing it, even after it was explicitly condemned as an abuse.
    —Jeff Ostrowski

Quick Thoughts

    “Gregorian Chant Quiz” • 24 March 2026
    How well do you know your Gregorian hymns? Do you recognize the tune inserted into the bass line on this score? For many years, we sang the entire Mass in Gregorian chant—and I mean everything. As a result, it would be difficult to find a Gregorian hymn I don’t recognize instantly. Only decades later did I realize (with sadness) that this skill cannot be ‘monetized’… This particular melody is used for a very famous Gregorian hymn, printed in the LIBER USUALIS. Do you recognize it? Send me an email with the correct words, and I promise to tell everybody I meet about your prowess!
    —Jeff Ostrowski
    PDF Download • “Ubi Caritas” (SATB)
    I remember singing “Ubi Cáritas” by Maurice Duruflé at the conservatory. I was deeply moved by it. However, some feel Duruflé’s version isn’t suitable for small choirs since it’s written for 6 voices and the bass tessitura is quite low. That’s why I was absolutely thrilled to discover this “Ubi cáritas” (SATB) for smaller choirs by Énemond Moreau, who studied with OSCAR DEPUYDT (d. 1925), an orphan who became a towering figure of Catholic music. Depuydt’s students include: Flor Peeters (d. 1986); Monsignor Jules Van Nuffel (d. 1953); Arthur Meulemans (d. 1966); Monsignor Jules Vyverman (d. 1989); and Gustaaf Nees (d. 1965). Rehearsal videos for each individual voice await you at #19705. When I came across the astonishing English translation for “Ubi Cáritas” by Monsignor Ronald Knox—matching the Latin’s meter—I decided to add those lyrics as an option (for churches which have banned Latin). My wife and I made this recording to give you some idea how it sounds.
    —Jeff Ostrowski
    PDF Download • “Holy, Holy, Holy”
    For vigil Masses on Saturday (a.k.a. “anticipated” Masses) we use this simpler setting of the “Holy, Holy, Holy” by Monsignor Jules Vyverman (d. 1989), a Belgian priest, organist, composer, and music educator who ultimately succeeded another ‘Jules’ (CANON JULES VAN NUFFEL) as director of the Lemmensinstituut in Belgium. Although I could be wrong, my understanding is that the LEMMENSINSTITUUT eventually merged with “Catholic University of Leuven” (originally founded in 1425). That’s the university Fulton J. Sheen attended.
    —Jeff Ostrowski

Random Quote

“Gregorian chant is the sacred chant, proper and principal of the Roman Church. Therefore, not only can it be used in all liturgical actions, but unless there are mitigating circumstances, it is preferable to use it instead of other kinds of sacred music.”

— §16, De Musica Sacra (1958)

Recent Posts

  • Music List • (Palm Sunday, 2026)
  • Easter • Would You Sing This Hymn?
  • “Priest Saying Mass” • Medieval Illumination
  • From Sentiment to Sacrament: Reclaiming Sacred Music for the Wedding Mass
  • Pipe Organ “Answers” in Plainsong?

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