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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

“I’ll be back next year … but with my entire choir!”

Jeff Ostrowski · July 8, 2022

M The following email was sent to us by a
M North Carolina choirmaster who attended
M the Symposium. She’s a wife, pediatrician,
M and mother of six children.

HIS WAS MY FIRST TIME attending the Sacred Music Symposium. I was hopeful I’d learn a lot, and that it would be a fruitful experience. The symposium exceeded all of my expectations. As the music director of a small volunteer choir in a diocesan church (which offers the Traditional Latin Mass) I was looking to nurture my conducting and choral skills. I found the break-out sessions extremely helpful in this regard, especially the conducting sessions, they were informative and practical. Many of the talks really delved deeply into the treasures of Sacred music. The speakers had a genuine passion for Sacred music that was refreshing and uplifting. Being able to attend daily Mass and sing Vespers was spiritually uplifting.

I came back to my home parish (and to my choir) and was able to immediately apply several practical tips I learned during the symposium. The choir members were aware that I went to the symposium—and as we were practicing and preparing for Sunday Mass, I shared some treasures that I learned at the symposium. Indeed, I was able to implement many things I had learned at the symposium during the rehearsal that helped myself and the choir. The difference was palpable; our chanting improved as did our polyphony. One of the members of the choir approached me after Holy Mass and said, “that must have been some kind of symposium! You brought us to a new level just today with all you learned and taught us.” Thank you for all of your efforts! I will continue to utilize everything I learned every week as I prepare, practice, and assist at Holy Mass. I will be back … but next time I will (hopefully) have members of my choir accompany me!

*  PDF Download • Participants & Faculty
—Sacred Music Symposium 2022 • “high resolution image.”

M The following email was
M sent to us by a choirmaster
M from Colton, California.

LORIA IN EXCELSIS DEO! Truly the music sung at the Sacred Music Symposium exhibits glory in such a perfect, stately way. The music overflows with glory when it ascends to Christ as the incense rises up to the heavens above. A Sacred Liturgy deserves Sacred Music! And there was so much to be found here at the Sacred Music Symposium—maybe a little too much as I found myself singing 4-6 hours a day! It was exhausting, but also rewarding. It was challenging, yet so profoundly peaceful. There was so much information crammed into our four (4) twelve-hour days together—and it truly felt like no time was wasted.

It was my first time attending the event. The thing I found the most rewarding was the consolation that there are other Catholics like me who are so passionate about Sacred Music in the Liturgy. I recently found myself beginning to despair at my efforts to implement (at a higher standard) Sacred Music in the liturgy. Due to my lack of experience with Gregorian Chant and polyphony, it often seemed a daunting task. The symposium gave me a good indicator that what I was doing was on the right path, and even one of the greatest missions I have as a musician. To restore Sacred Music to the Church will be one of my life’s goals, and attending the symposium reminded me of the value of that mission. Meeting all my fellow Christian brothers and sisters also grounded and supported my psyche. Having the best composers, conductors, directors, and musicians just really shows you what’s possible, and brings new excitement to our work. Every waking minute I found myself soaking in every little technique and note they gave us!

The climax of having solemn high mass on Friday was so powerful, rich and glorious! Everything commingled into a beautiful offering to the most Sacred Heart of Jesus, as he gave himself to us in the Eucharist that day. Such profound glory! Such beauty!

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

Filed Under: Articles, Featured Tagged With: Alfred Calabrese Conductor, Dom Mocquereau, Sacred Music Symposium 2022 Last Updated: July 8, 2022

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About Jeff Ostrowski

Jeff Ostrowski holds his B.M. in Music Theory from the University of Kansas (2004). He resides with his wife and children in Michigan. —(Read full biography).

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President’s Corner

    PDF Download • “Atténde Dómine”
    Although it isn’t nearly as ancient as other hymns in the plainsong repertoire, Atténde Dómine, et miserére, quía peccávimus tíbi (“Look down, O Lord, and have mercy, for we have sinned against Thee”) has become one of the most popular hymns for LENT—perhaps because it was included in the famous Liber Usualis of Solesmes. This musical score (PDF file) has an incredibly accurate version in English, as well as a nice version in Spanish, and also the original Latin. Although I don’t claim to have a great singing voice, this morning I recorded this rehearsal video.
    —Jeff Ostrowski
    Music List • (1st Sunday of Lent)
    Readers have expressed interest in seeing the ORDER OF MUSIC I’ve prepared for this coming Sunday—22 February 2026—the 1st Sunday of Lent (Year A). 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 available at the outstanding feasts website alongside the official texts in Latin. I spent an enormous amount of time preparing this ORDER OF MUSIC—because the children’s choir will join us—and some of its components came out great. For example, the COMMUNION ANTIPHON with Fauxbourdon is utterly resplendent, yet still ‘Lenten’.
    —Jeff Ostrowski
    2-Voice Arrangement for Lent
    Those seeking a two-voice arrangement for LENT and PASSIONTIDE should click here and scroll down. It’s based on number 775 in the Brébeuf Hymnal, with an enchanting melody written by Kevin Allen (the legendary American composer of sacred music). That text—“Pendens In Crucis Cornibus”—is often used for the Feast of our Lady of Sorrows. That link is important because, in addition to the musical score, it provides free rehearsal videos for each individual voice: something volunteer choirs appreciate!
    —Jeff Ostrowski

Quick Thoughts

    “Reminder” — Month of Febr. (2026)
    On a daily basis, I speak to people who don’t realize we publish a free newsletter (although they’ve followed our blog for years). We have no endowment, no major donors, no savings, and refuse to run annoying ads. As a result, our mailing list is crucial to our survival. It couldn’t be easier to subscribe! Just scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski
    PDF Chart • “Plainsong Rhythm”
    I will go to my grave without understanding the lack of curiosity so many people have about the rhythmic modifications made by Dom André Mocquereau. For example, how can someone examine this single sheet comparison chart and at a minimum not be curious about the differences? Dom Mocquereau basically creates a LONG-SHORT LONG-SHORT rhythmic pattern—in spite of enormous and overwhelming manuscript evidence to the contrary. That’s why some scholars referred to his method as “Neo-Mensuralist” or “Neo-Mensuralism.”
    —Jeff Ostrowski
    PDF • “O Come All Ye Faithful” (Simplified)
    I admire the harmonization of “Adeste Fideles” by David Willcocks (d. 2015), who served as director of the Royal College of Music (London, England). In 2025, I was challenged to create a simplified arrangement for organists incapable of playing the authentic version at tempo. The result was this simplified keyboard arrangement (PDF download) based on the David Willcocks version of “O Come All Ye Faithful.” Feel free to play through it and let me know what you think.
    —Jeff Ostrowski

Random Quote

“We wish to express the hope that students of Gregorian Chant come back to the pure Vatican Edition, in the ancient block-note form, without the addition of any signs whatever, in order to achieve Gregorian unity.”

— Josef Gogniat (12 March 1938)

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