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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

Outdoor Music Classes? Only in 2020!

Keven Smith · September 28, 2020

ERHAPS MANY Corpus Christi Watershed readers have already returned to normal or near-normal, liturgically speaking. But here in California, there are still many COVID restrictions in place. For example, in my diocese all indoor classes have been suspended.

The problem is, I normally offer four levels of musical instruction for children during the schoolyear. It’s something many families plan their schedules around. It’s something many kids look forward to. And it supplies our parish choir with a steady stream of new singers.

My pastor recently told me that, as per the diocesan guidelines, I can offer music classes this fall but they must be outside, in our parish courtyard. I initially balked at the idea, but then I thought, “Why not?” So I put word out—and received about 100 enrollments, shattering my previous record of seventysomething.

Either sacred music is alive and well or families are getting stir-crazy from the lockdown.

I planned a late start this schoolyear due to the heat wave and the horrendous air quality from the many California wildfires. Last Thursday, we finally held our first classes. Here are some thoughts on what I’ve experienced so far.

Overcoming the Challenges of Teaching Music Outside

Outdoor music classes do work. There are a few challenges: It’s hot and kids get thirsty easily. There’s no piano (unless I set up a portable keyboard) and no blackboard. We have to set up chairs. And it’s harder to hear the singers. But I think the benefits outweigh the drawbacks. Training in suboptimal conditions is better than no training at all. I can’t imagine telling our parish, “Sorry, no music program this fall due to COVID.” Of course, if the lockdown continues into the damp and chilly months, then I may have to suspend classes.

I’m frankly not too worried about how working outdoors will affect my classes. My greater concern is the same one I have every year: keeping families committed. I find that most children show a sincere enthusiasm for classes and enjoy the challenges therein, but their parents struggle to make the weekly commitment because there’s tremendous competition for their time. Even for homeschoolers, who theoretically have more flexibility than families that use schools, the dropout rate can be higher than we teachers would like.

I suspect it’s a cultural thing. We tend to take music less seriously than academic subjects, overlooking the fact that it’s an essential part of the formation of a child. We see it as something a student can somehow “pick up” even if he has missed a month’s worth of classes or rehearsals. And even among devout Catholics, I think there’s a lingering perception that when the week gets busy, sacred music is the logical first thing to skip.

Five Ways to Increase Engagement

None of us knows what could happen with COVID or other societal disruptions this fall. Regardless, here are five ideas for keeping a parish music education program going strong:

  • Require people to sign up. Invite parents to complete an online registration form, or hand them a printout. Even if you’re running a small program and you think you’ll already know everyone who participates, asking them to register sends the message that music class isn’t something to take casually.
  • Hand out rules and regulations. Put down on paper your class rules, such as staying in seats, no eating in class, and no cell phones.
  • Sell the benefits. Your goal is to increase signups and encourage participation all schoolyear, right? So tell the parents up front what their kids will get out of the classes. I don’t believe in selling music classes based on ancillary benefits such as “Kids who study music do better on standardized tests” or “Your child may earn a scholarship to study music at a university.” Sell music for its own sake. Mention that learning sacred music opens up a lifetime of serving the Church, enriching one’s spiritual life, and making sincere friendships based on charity. Anyone who doesn’t want these benefits probably doesn’t belong in your music program anyway.
  • Require notification of all absences. Provide your contact information and make it a rule that parents must tell you whenever their children will miss class.
  • Require notification of dropouts. Ask parents to let you know if their children plan on ceasing participation in the middle of the schoolyear. Unfortunately, there’s a tendency simply to stop showing up. This makes it hard on the teacher, who is left wondering whether a student may suddenly reappear after weeks of absences and need significant help catching up.

Whatever we do, let’s not give up. Our work is far too important—and I take the increased enrollment in my program as a sign that Catholics are hungrier than ever for beauty.

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

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Filed Under: Articles Tagged With: music education Last Updated: September 28, 2020

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About Keven Smith

Keven Smith, music director at St. Stephen the First Martyr, lives in Sacramento with his wife and five musical children.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    PDF Comparison Chart • “Serious Problems with the Lectionary Translation”
    EARS BEFORE truly revolutionary changes were introduced by the post-conciliar reformers, Evelyn Waugh wrote (on 16 August 1964) to John Cardinal Heenan: “I think that a vociferous minority has imposed itself on the hierarchy and made them believe that a popular demand existed where there was in fact not even a preference.” We ask the kind reader— indeed, we beg you—to realize that those of us born in the 1940s and 1950s had no cognizance of Roman activities during the 1960s and 1970s. We were concerned with making sure we had the day’s bus fare, graduating from high school, taking care of our siblings, learning a trade, getting a job, courting a spouse. We questioned neither the nuns nor the Church.1 Do not believe for one instant any of us were following the liturgical machinations of Cardinal Lercaro or Father Bugnini in real time. Setting The Stage • To never question or resist Church authorities is praiseworthy. On the other hand, when a scandalous situation persists for decades, it must be brought into focus. Our series will do precisely that as we discuss the Lectionary Scandal from a variety of angles. We don’t do this to attack the Catholic Church. Our goal is bringing to light what’s been going on, so it can be fixed once and for all. Our subject is extremely knotty and difficult to navigate. Its complexity helps explain why the situation has persisted for such a long time.2 But if we immediately get “into the weeds” we’ll lose our audience. Therefore, it seems better to jump right in. So today, we’ll explore the legality of selling these texts. A Word On Copyright • Suppose Susie modifies a paragraph by Edgar Allan Poe. That doesn’t mean ipso facto she can assert copyright on it. If Susie takes a picture of a Corvette and uses Photoshop to color the tires blue, that doesn’t mean she henceforth “owns” all Corvettes in America. But when it comes to Responsorial Psalm translations, certain parties have been asserting copyright over them, selling them for a profit, and bullying publishers vis-à-vis hymnals and missals. Increasingly, Catholics are asking whether these translations are truly under copyright—because they are identical (or substantially identical) to other translations.3 Example After Example • Our series will provide copious examples supporting our claims. Sometimes we’ll rely on the readership for assistance, because—as we’ve stressed—our subject’s history couldn’t be more convoluted. There are countless manuscripts (in Greek, Hebrew, and Latin) we don’t have access to, so it would be foolish for us to claim that our observations are somehow the ‘final word’ on anything. Nevertheless, we demand accountability. Catholics in the pews are the ones who paid for all this. We demand to know who specifically made these decisions (which impact every English-speaking Catholic) and why specifically certain decisions were made. The Responsorial Psalms used in America are—broadly speaking—stolen from the hard work of others. In particular, they borrowed heavily from Father Cuthbert Lattey’s 1939 PSALTER TRANSLATION:
    *  PDF Download • COMPARISON CHART —We thank the CCW staff for technical assistance with this graph.
    Analysis • Although certain parties have been selling (!!!) that translation for decades, the chart demonstrates it’s not a candidate for copyright since it “borrows” or “steals” or “rearranges” so much material from other translations, especially the 1939 translation by Father Cuthbert Lattey. What this means in layman’s terms is that individuals have been selling a translation under false pretenses, a translation they don’t own (although they claim to). To make RESTITUTION, all that money will have to be returned. A few years ago, the head of ICEL gave a public speech in which he said they give some of “their” profits to the poor. While almsgiving is a good thing, it cannot justify theft. Our Constant Theme • Our series will be held together by one thread, which will be repeated constantly: “Who was responsible?” Since 1970, the conduct of those who made a profit by selling these sacred texts has been repugnant. Favoritism was shown toward certain entities—and we will document that with written proof. It is absolutely essential going forward that the faithful be told who is making these decisions. Moreover, vague justifications can no longer be accepted. If we’re told they are “making the translations better,” we must demand to know what specifically they’re doing and what specific criteria they’re following. Stay Tuned • If you’re wondering whether we’ll address the forthcoming (allegedly) Lectionary and the so-called ABBEY PSALMS AND CANTICLES, have no fear. We’ll have much to say about both. Please stay tuned. We believe this will end up being the longest series of articles ever submitted to Corpus Christi Watershed. To be continued. ROBERT O’NEILL Former associate of Monsignor Francis “Frank” P. Schmitt at Boys Town in Nebraska JAMES ARNOLD Formerly associated w/ King’s College, Cambridge A convert to the Catholic Church, and distant relative of J. H. Arnold MARIA B. Currently serves as a musician in the Roman Catholic Diocese of Charlotte. Those aware of the situation in her diocese won’t be surprised she chose to withhold her last name.
    1 Even if we’d been able to obtain Roman journals such as NOTITIAE, none of them contained English translations. But such an idea would never have occurred to a high school student or a college student growing up in the 1960s. 2 A number of shell corporations claim to own the various biblical translations mandated for Roman Catholics. They’ve made millions of dollars selling (!) these indulgenced texts. If time permits, we hope to enumerate these various shell corporations and explain: which texts they claim to own; how much they bring in each year; who runs them; and so forth. It would also be good to explore the morality of selling these indulgenced texts for a profit. Furthermore, for the last fifty years these organizations have employed several tactics to manipulate and bully others. If time permits, we will expose those tactics (including written examples). Some of us—who have been working on this problem for three decades—have amassed written documentation we’ll be sharing that demonstrates behavior at best “shady” and at worst criminal. 3 Again, we are not yet examining the morality of selling (!) indulgenced texts to Catholics mandated to use those same translations.
    —Guest Author
    “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

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

“The pope regrets that this trade in African slaves, that he believed having ceased, is still exercised in some regions and even more cruel way. He begs and begs the King of Portugal that it implement all its authority and wisdom to extirpate this unholy and abominable shame.”

— ‘Pope Pius VII, writing to the King of Portugal’

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