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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

Isabella Marie • “My Personal Testimony”

Corpus Christi Watershed · July 28, 2022

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HAVE NOT studied music for long, but I never knew a time without music in my life. Whether it was through dancing, playing piano, or listening to music at leisure, music was a deeply absorbing fascination. A basic, amateurish music education coupled with an unquenchable curiosity led me to start pursuing a Music degree with an emphasis in Composition.

Beyond My Imagination • The Sacred Music Symposium more than satisfied my craving for knowledge, taught me what is considered Sacred Music, improved my singing, stressed to me the important role of the choir during the Holy Mass, gave me insights into the composition of Sacred Music, and provided me with more resources to access it. It went beyond anything I ever thought of or expected from a five-day event, and it opened my mind to the world of Sacred Music—a world I was wholly unaware of before this summer.

Impressive & Invaluable • At the symposium, I learned from incredible, experienced musicians who are genuinely passionate about sacred music. The sheer amount of work that was put into the symposium booklets and each presentation, along with the knowledge they’ve acquired over years of directing, was impressive and invaluable. It was very stimulating to learn from Jeff Ostrowski and watch his zeal for music, to witness Dr. Alfred Calabrese’s stirring conducting and concentrated instruction, to see Richard Clark and Charles Weaver work with such gusto, and a privilege to sing Kevin Allen’s transcendent pieces. The entire thing was put together by Andrea Leal—and it went off without a hitch—with the assistance of the church’s magnificent organist William Fritz, a thoughtful and gentle person.

Extraordinary Form “Newbie” • From someone relatively new to the Traditional Latin Mass and singing in Latin, it was wonderful and inspiring to see so many well-seasoned musicians, choir directors, and volunteers from different parishes across the country and beyond so passionate about sacred music. When I joined a choir at a parish a little over a month before the symposium, I was exposed to singing chant and hymns. I had experience with choir at the university, but had never sung Gregorian chant. It was a blessing to have joined—and it helped me to engage more with the information I gathered at the symposium (owing to a basic familiarity). I found that even with my limited knowledge of sacred music, I was able to improve greatly. I hope to come back next year with more experience and friends from the university who are interested in sacred music and want to learn how to praise God more reverently and wholeheartedly.

My Personal Testimony • I had come to the symposium to learn more about sacred music, but came back with so much more: inspiration, a sense of community, fire for sharing this special kind of music, a deeper admiration for God and all His gifts, and an experience that I will never forget. The week of the Sacred Music Symposium was one of the most enjoyable, intense, and spiritually fulfilling experiences of my life.

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

Filed Under: Articles, Featured Tagged With: Sacred Music Symposium 2022 Last Updated: July 28, 2022

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President’s Corner

    New Bulletin Article • “21 September 2025”
    My pastor requested that I write short articles each week for our parish bulletin. Those responsible for preparing similar write-ups may find a bit of inspiration in these brief columns. The latest article (dated 21 September 2025) discusses some theological items—supported by certain verses in ancient Catholic hymns—and ends by explaining why certain folks become delirious with jealousy when they observe feats by Monsignor Ronald Knox.
    —Jeff Ostrowski
    Cheap! Cheap! Cheap!
    It’s always amusing to see old diocesan newspapers—in huge capital letters—advertising the Cheapest Catholic Paper in the United States. The correspondent who sent this to me added: “I can think of certain composers, published by large companies in our own day, who could truthfully brag about the most tawdry compositions in the world!” I wonder what she could have meant by such a cryptic comment…
    —Jeff Ostrowski
    PDF Download • Dom Murray Harmonies
    Along with so many others, I have deep respect for Dom Gregory Gregory Murray, who produced this clever harmonization (PDF) of “O SANCTISSIMA.” It’s always amazed me that Dom Gregory—a truly inspired composer—was so confused when it came to GREGORIAN CHANT. Throughout his life, he published contradictory statements, veering back-and-forth like a weather vane. Toward the end of his life, he declared: “I see clearly that the need for reform in liturgical music arose, not in the 18th and 19th centuries, but a thousand years earlier—in the 8th and 9th centuries, or even before that. The abuses began, not with Mozart and Haydn, but with those over-enthusiastic medieval musicians who developed the elaborate and flamboyant Gregorian Chant.”
    —Jeff Ostrowski

Quick Thoughts

    Karl Keating • “Canonization Questions”
    We were sent an internet statement (screenshot) that’s garnered significant attention, in which KARL KEATING (founder of Catholic Answers) speaks about whether canonizations are infallible. Mr. Keating seems unaware that canonizations are—in the final analysis—a theological opinion. They are not infallible, as explained in this 2014 article by a priest (with a doctorate in theology) who worked for multiple popes. Mr. Keating says: “I’m unaware of such claims arising from any quarter until several recent popes disliked by these Traditionalists were canonized, including John XXIII, Paul VI, and John Paul II. Usually Paul VI receives the most opprobrium.” Mr. Keating is incorrect; e.g. Father John Vianney, several centuries ago, taught clearly that canonizations are not infallible. Archbishop Fulton J. Sheen would be another example, although clearly much more recent than Saint John Vianney.
    —Corpus Christi Watershed
    Vatican II Changed Wedding Propers?
    It’s often claimed that the wedding propers were changed after Vatican II. As a matter of fact, that is a false claim. The EDITIO VATICANA propers (Introit: Deus Israel) remained the same after Vatican II. However, a new set of propers (Introit: Ecce Deus) was provided for optional use. The same holds true for the feast of Pope Saint Gregory the Great on 3 September: the 1943 propers (Introit: Si díligis me) were provided for optional use, but the traditional PROPRIA MISSAE (Introit: Sacerdótes Dei) were retained; they weren’t gotten rid of. The Ordo Cantus Missae (1970) makes this crystal clear, as does the Missal itself. There was an effort made in the post-conciliar years to eliminate so-called “Neo-Gregorian” chants, but (contrary to popular belief) most were retained: cf. the feast of Christ the King, the feast of the Immaculate Conception, and so forth.
    —Corpus Christi Watershed
    Solemn “Salve Regina” (Chant)
    How many “S” words can you think of using alliteration? How about Schwann Solemn Salve Score? You can download the SOLEMN SALVE REGINA in Gregorian Chant. The notation follows the official rhythm (EDITIO VATICANA). Canon Jules Van Nuffel, choirmaster of the Cathedral of Saint Rumbold, composed this accompaniment for it (although some feel it isn’t his best work).
    —Corpus Christi Watershed

Random Quote

It is unworthy that the stone holds Him, Who encloses everything in His hand, Locked in by the forbidding rock. (“Indígnum est cujus claudúntur cuncta pugíllo | Ut tegat inclúsum rupe vetánte lapis.”)

— SALVE FESTA DIES (Eastertide)

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