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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

Roger Scruton, Magister Pulchritudinis

Fr. David Friel · January 20, 2020

N MY third year of college seminary, I took an elective class that markedly shaped my worldview. The title of the course was “Aesthetics: Art & Beauty,” and it was taught by our seminary’s long-time, well respected, and deeply loved chair of philosophy, Dr. Atherton Lowry. The class opened my mind to the field of aesthetics, giving me a new vocabulary to describe the experience of beauty. The class challenged me, enlightened me, and convinced me that beauty matters. Beauty—in music, architecture, language, and so many other domains—matters immensely.

Among the many gifts I received from taking that course, one of the greatest was being introduced to the thought of Sir Roger Scruton. Articles and books by Scruton dotted the syllabus so generously that his voice formed the backbone of the course. My interest in his work was immediate. Reading him, I instinctively knew that I was sitting at the feet of someone who was—as his former student, Rabbi Sacks, put it—“bigger than the age.”

Scruton died of cancer earlier this month at age 75. His death has sparked a fitting round of tributes and retrospectives (e.g., here, here, and here).

Nearly two decades after taking that college elective, I had the opportunity to hear Scruton speak in person on an evening that ranks among the highlights of my time at The Catholic University of America. Beauty has continued to be an interest of mine since my first encounters with Scruton’s work, as is evident from my article, Is Beauty Subjective?, and the many previous blog posts I have devoted to the topic.

Scruton had his share of critics, largely due to his championship of political conservatism. Conservatism, for Scruton, is “the instinct . . . we all ultimately share, at least if we’re happy in this world. It’s the instinct to hold on to what we love, to protect it from degradation and violence, and to build our lives around it” (excerpted from this interview). Even his detractors, though, regarded him as an intellectual giant who could speak substantively on a wide array of topics. In some disciplines, he was without a living peer.

There is a difference between music that is technically correct and music that is beautiful, between buildings that are functional and buildings that are noble, between language that is communicative and language that delights. This much even those who may never have read Scruton would likely accept.

But why does beauty matter? Sir Roger Scruton speaks for himself:



May the Lord grant Roger Scruton rest, and may He renew in us an appreciation for that visible form of the good which is beauty.

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

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Filed Under: Articles Tagged With: Beauty Last Updated: January 20, 2020

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About Fr. David Friel

Ordained in 2011, Father Friel is a priest of the Archdiocese of Philadelphia and serves as Director of Liturgy at Saint Charles Borromeo Seminary. —(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

“Those who teach Latin must know how to speak to the hearts of the young, know how to treasure the very rich heritage of the Latin tradition to educate them in the path of life, and accompany them along paths rich in hope and confidence.”

— Pope Francis (7 December 2017)

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