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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

How Do the Greats Approach the Science of Choral Conducting?

Dr. Lucas Tappan · May 12, 2020

RECENTLY WROTE on the subjects of beauty and wonder and their integral relationship to the art of great conducting. At the same time, I stressed how important the mechanics of conducting were, albeit in the role of the humble servant, because even the greatest of artists is dependent to a large degree upon his tools and training. Michelangelo, without training and in wont of the best paints and plaster, would have struggled to paint the ceiling of the Sistine Chapel (although he most certainly would have succeeded to a greater degree than many others in possession of both). Of course this leaves the musician asking the question how much of the science of conducting do I need to possess, or is it helpful to possess, in order to grow and develop into a consummate choral artist/conductor? Where can I learn this science?

While searching the internet I discovered a DMA document that I believe many of you will find helpful because it follows the work of six great choral conductors, focusing on the techniques each one uses in their choirs to build a lasting foundation upon which a beautiful and moving musical edifice might be constructed. Christopher Smith’s A Comparative Study of Select Choral Conductors’ Approaches to Unification of Choral Sound, Rehearsal, Conducting, and Leadership follows the methods and tactics of Frieder Bernius (Germany), Tõnu Kaljuste (Estonia), Stephen Cleobury, John Eliot Gardiner (United Kingdom), Weston Noble, and Robert Shaw (United States) in order to discover how they approach the science (and sometimes even the art) of choral conducting, giving special consideration to the musical groundwork each one believes necessary to lay in his choir before the choral arts can flourish. We properly call this choir training, and while choir training in itself will never assure a beautiful and moving performance, the lack thereof will most certainly hinder it. Don’t be hampered by the lack of knowledge of the science of conducting, so that when the time is ripe and the wonder and beauty of great music wound your soul, such seed will fall upon good ground.

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

Filed Under: Articles Last Updated: May 12, 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

    “Music List” • 17th in Ordinary Time (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 17th Sunday in Ordinary Time (27 July 2025). 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 the feasts website.
    —Jeff Ostrowski
    Communion • “Ask & You Shall Receive”
    All of the chants for 27 July 2025 have been added to the feasts website, as usual under a convenient “drop down” menu. The COMMUNION ANTIPHON (both text and melody) are exceedingly beautiful and ancient.
    —Jeff Ostrowski
    Jeff’s Mother Joins Our Fundraiser
    To assist our fundraiser, Mrs. Kathleen Ostrowski has drawn several beautiful sketches which she offers to all our readers free of charge. If you have a moment, I invite you download them at this link.
    —Jeff Ostrowski

Quick Thoughts

    Pope Pius XII Hymnal?
    Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.
    —Corpus Christi Watershed
    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed
    Antiphons Don’t Match?
    A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).
    —Corpus Christi Watershed

Random Quote

Indeed I might add that although unfamiliar with it myself, the Extraordinary Form expressly reminds us that Mass in either form is not merely a communion meal but a ritual of love, a sacrifice at Calvary, by which, for you and for me, yes, here and now, Jesus Christ lays down his life.

— ‘Most Rev. Philip Egan, Bishop of Portsmouth’

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