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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

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

    2-Voice Arr. • “Creator of the Starry Height”
    Do you direct a choir consisting of women or children only? (Some call this a “treble” choir.) Download a two-voice arrangement of Creator of the Starry Height set to the tune of IOANNES by clicking here and then scrolling to the bottom. In our times, this hymn is normally used during ADVENT, and the Latin title is: Cónditor alme síderum. It’s important to say “cónditor”—placing the accent on the antepenult—because ‘condítor’ in Latin means “one who embalms the dead.”
    —Jeff Ostrowski
    “Equal Voices” Choir Pieces
    My colleague, CORRINNE MAY, has posted some delightful compositions for equal voices: that is, choirs consisting of all men or all women. Included there are settings of the “Ave Maria” and “Tantum Ergo.” They strike me as relatively simple and not excessively lengthy. (In other words, within reach of volunteer singers.) Even better, all the scores have been made available as instant PDF downloads, completely free of charge. Bravo!
    —Jeff Ostrowski
    Typo in the “Missale Romanum” (1962)
    The 1962 MISSALE ROMANUM was a transitional missal. It was on its way to becoming the 1970 version, but wasn’t there yet. It eliminated certain duplications, downplayed the Prayers at the Foot of the Altar, expanded the role of laymen, minimized the Last Gospel, made many items optional, and so forth. Father Valentine Young spotted many typos in the 1962 MISSALE ROMANUM, especially incorrect accents. The Offertory Antiphon for this coming Sunday (OF kalendar) contains an error, citing the wrong verse from Psalm 118. It should be 118:107b, not 118:154. If you read verse 154, you’ll understand how that error crept in. [In this particular case, the error pre-dates the 1962 Missal, since the 1940s hand-missal by Father Lasance also gets it wrong.]
    —Jeff Ostrowski

Quick Thoughts

    “Our Father” • Musical Setting?
    Looking through a Roman Catholic Hymnal published in 1859 by Father Guido Maria Dreves (d. 1909), I stumbled upon this very beautiful tune (PDF file). I feel it would be absolutely perfect to set the “Our Father” in German to music. Thoughts?
    —Jeff Ostrowski
    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

Random Quote

“In condemning us, you condemn all your own ancestors—all the ancient priests, bishops and kings—all that was once the glory of England, the island of saints and the most devoted child of the See of Peter. For what have we taught, however you may qualify it with the odious name of treason, that they did not uniformly teach?”

— Father Edmund Campion (to the Anglicans about to murder him)

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