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Views from the Choir Loft

A Summer Course in Old Notation

Dr. Charles Weaver · May 25, 2021

N FOLLOWING the Catholic blogosphere in recent months, it has been heartening to see so many upcoming opportunities for summer learning about sacred music. I would like to draw our readers’ attention to one such opportunity: the Summer 2021 Sacred Music Classes at St. Joseph’s Seminary in New York. The program is led by Dr. Jennifer Donelson-Nowicka and includes options for taking courses for graduate-level credit. The classes run all summer, and discounts are available for musicians working in parishes and Catholic schools.In particular, I am offering a 3-day course, July 28–30, in early notation. The goal of the course is to equip the student to be able to transcribe and edit music from original sources. The number of digitized print and manuscript sources of choral music from the twelfth to sixteenth centuries now available in digital format is staggering; there is so much music that is still not widely accessible through modern editions. As a side benefit, the information learned in the course will allow the student to evaluate and correct the modern editions that are widely available online.

My class, and several of the others, have options for in-person or online attendance. You can read more about the program on the St. Joseph’s Seminary website.

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

Filed Under: Articles Last Updated: May 25, 2021

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About Dr. Charles Weaver

Dr. Charles Weaver is on the faculty of the Juilliard School, and serves as director of music for St. Mary’s Church. He lives in Connecticut with his wife and four children.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    Luis Martínez Must Go!
    Sevilla Cathedral (entry dated 13 December 1564): The chapter orders Luis Martínez, a cathedral chaplain, to stay away from the choirbook-stand when the rest of the singers gather around it to sing polyphony—the reason being that “he throws the others out of tune.” [Excerpt from “The Life of Father Francisco Guerrero.”]
    —Jeff Ostrowski
    Urgent! • We Desperately Need Funds!
    A few days ago, the president of Corpus Christi Watershed posted this urgent appeal for funds. Please help us make sure we’re never forced to place our content behind a paywall. We feel it’s crucial that 100% of our content remains free to everyone. We’re a tiny 501(c)3 public charity, entirely dependent upon the generosity of small donors. We have no endowment and no major donors. We run no advertisements and have no savings. We beg you to consider donating $4.00 per month. Thank you!
    —Jeff Ostrowski
    “Booklet of Eucharistic Hymns” (16 pages)
    I was asked to create a booklet for my parish to use during our CORPUS CHRISTI PROCESSION on 22 June 2025. Would you be willing to look over the DRAFT BOOKLET (16 pages) I came up with? I tried to include a variety of hymns: some have a refrain; some are in major, others in minor; some are metered, others are plainsong; some are in Spanish, some are in Latin, but most are in English. Normally, we’d use the Brébeuf Hymnal—but we can’t risk having our congregation carry those heavy books all over the city to various churches.
    —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

It would be contrary to the Constitution to decree or even to hint that sung celebrations, especially of the Mass, should be in Latin.

— Annibale Bugnini attacking “Sacrosanctum Concilium” (§36)

Recent Posts

  • Luis Martínez Must Go!
  • Pope Pius XII Hymnal?
  • PDF Download • “Gospel Acclamation” for 29 June (Solemnity of Saints Peter and Paul, Apostles)
  • “Hybrid” Chant Notation?
  • Available! • Free Rehearsal Videos for Agnus Dei “Mille Regretz” after Gombert (d. 1560)

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Corpus Christi Watershed is a 501(c)3 public charity dedicated to exploring and embodying as our calling the relationship of religion, culture, and the arts. This non-profit organization employs the creative media in service of theology, the Church, and Christian culture for the enrichment and enjoyment of the public.

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