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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

Virtual Sacred Music Colloquium 2021

Fr. David Friel · May 9, 2021

GAIN this year, the Church Music Association of America (CMAA) will be hosting its Sacred Music Colloquium virtually. A week-long conference for parish musicians, directors of music, and clergy, the Colloquium is the only event of its kind, connecting singers and instrumentalists from around the United States (and beyond), offering instruction in the treasury of Catholic sacred music, and facilitating the practical implementation of chant and polyphony in the service of the liturgy. This is the signature event in the CMAA’s calendar each year.

Although the virtual format of this year’s Colloquium will limit the opportunities for fellowship and camaraderie that are such an important part of the annual gathering, a fine lineup of presenters and topics remains in force. All the details of this year’s Colloquium are presented on the event homepage.

Following much the same arrangement as last year, Colloquium 2021 will be conducted via Zoom, with presentations and opportunities for prayer during the evening hours (from 4:30 PM to 10 PM EDT). The dates for the conference will be Monday through Friday, June 21 – 25, 2021.

Alongside many familiar faces, several new presenters are joining the faculty this year. Some of the schedule’s highlights include:

Chant Modes • Nicholas Lemme
Vocal Training of the Young Voice • Dr. Lucas Tappan
Vocal Pedagogy • Dr. MeeAe Cecilia Nam
Building up the Choral Sound • Dr. Horst Buchholz
Parish Organ Techniques • Bruce Ludwick
Advanced Organ Techniques • Christopher Berry

Three plenary speakers will give keynote addresses on Monday, Tuesday, and Thursday nights:

June 21, 2021 — Dr. William P. Mahrt (President, CMAA Board of Directors)
June 22, 2021 — Most Rev. Salvatore J. Cordileone (Archbishop of San Francisco)
June 24, 2021 — Rev. Joseph Koterski, SJ (Fordham University)

The breakout sessions will be divided into beginner and advanced tracks. There will also be a Spanish track, with presentations concentrated on Wednesday evening.

If you have never been able to participate in a CMAA Colloquium before, this may be the year to give it a try. The registration cost is very reasonable—only $30 per day or $80 for all five days. There will also be some parts of the program made freely available to anyone who completes the Colloquium basic registration, including daily spiritual reflections from the CMAA chaplain and daily Compline.

Full information regarding Sacred Music Colloquium 2021 is available here, and registration is available here.

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

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Filed Under: Articles Tagged With: Church Music Association of America CMAA, Contemporary Sacred Music, Sacred Music Colloquium, William Mahrt Gregorian Chant Last Updated: May 9, 2021

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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

    “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
    “Music List” • 27th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 5 October 2025, which is the 27th Sunday in Ordinary Time (Year C). 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 spectacular feasts website alongside the official texts in Latin. Readers will want to check out the ENTRANCE CHANT posted there, which has a haunting melody (in the DEUTERUS MODE) and extremely powerful text.
    —Jeff Ostrowski
    Kids’ Choir Sings Thomas Aquinas
    Last Sunday, a children’s choir I’m teaching sang with us for the very first time at Sunday Mass. Females from our main choir sang along with them. If you’re curious to hear how they sounded, you can listen to a ‘live’ recording. That’s an English version of TANTUM ERGO by Saint Thomas Aquinas. That haunting melody is called GAUFESTRE and was employed for this 2-Voice Arrangement of a special hymn for 9 November (“Feast of the Dedication of the Lateran Basilica in Rome”) which replaces a Sunday this year.
    —Jeff Ostrowski

Quick Thoughts

    “Reminder” — Month of September (2025)
    Those who don’t sign up for our free EMAIL NEWSLETTER miss important notifications. Last week, for example, I sent a message about this job opening for a music director paying $65,000 per year plus benefits (plus weddings & funerals). Notice the job description says: “our vision for sacred music is to move from singing at Mass to truly singing the Mass wherein … especially the propers, ordinaries, and dialogues are given their proper place.” Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski
    “Canonic” • Ralph Vaughan Williams
    Fifty years ago, Dr. Theodore Marier made available this clever arrangement (PDF) of “Come down, O love divine” by P. R. Dietterich. The melody was composed in 1906 by Ralph Vaughan Williams (d. 1958) and named in honor of of his birthplace: DOWN AMPNEY. The arrangement isn’t a strict canon, but it does remind one of a canon since the pipe organ employs “points of imitation.” The melody and text are #709 in the Brébeuf Catholic Hymnal.
    —Jeff Ostrowski
    Did they simplify these hymn harmonies?
    Choirs love to sing the famous & splendid tune called “INNSBRUCK.” Looking through a (Roman Catholic) German hymnal printed in 1952, I discovered what appears to be a simplified version of that hymn. In other words, their harmonization is much less complex than the version found in the Saint Jean de Brébeuf Hymnal (which is suitable for singing by SATB choir). Please download their 1952 harmonization (PDF) and let me know your thoughts. I really like the groovy Germanic INTRODUCTION they added.
    —Jeff Ostrowski

Random Quote

“Franz Liszt was an eminent keyboard virtuoso but a dangerous example for the young. … As a composer he was terrible.”

— Clara Schumann

Recent Posts

  • “American Catholic Hymnal” (1991)
  • Involving Women in the Communion?
  • “Toward a More Sacred Style With Pastoral Charity” • Guest Article by Dr. Myrna Keough
  • “Music List” • 27th in Ordinary Time (Year C)
  • Kids’ Choir Sings Thomas Aquinas

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