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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

“My Reflections” • Re: 2022 Symposium Keynote

Corrinne May · September 20, 2022

Y ORIGINAL INTENT was to listen to Father Fryar’s talk, given as a keynote address at the recent Sacred Music Symposium 2022, and to take some brief notes so as to do a ‘cliff notes’ version of it. But upon listening to it, I knew I could not just do a brief outline of the talk. There were just too many ‘aha’ moments and gems of wisdom, and valuable insights…

Many Hours Spent! • I ended up transcribing each and every word from Father Fryar’s talk, and even though it took many hours, I relished the process. Moreover, I had time to ponder all the insights and thoughts from a priest who has obviously thought long—and prayed hard about—what it is that is needed to make Sacred Music … sacred.

*  YouTube • Father Fryar’s Keynote (Video)
—Delivered at Sacred Music Symposium 2022.
*  Download • CORRINNE’S TRANSCRIPTION (PDF)
—I created this transcription from the video.

What I Took Away • If you’ve ever wondered how to get a deeper appreciation and to restore a sense of awe and wonder at your role as a musician, choir director or choir member in the Church, read the whole transcription of the talk, listen to a recording of it, ponder and reflect upon it, and you’ll find that there is strength and joy for the journey ahead. Of course if you still want an outline of the talk, here is my humble offering :

(1 of 6)
Everything that is used for the Mass, is blessed, consecrated and dedicated specifically for Holy Mass; e.g. the accoutrements used upon the altar, the altar cloth, the beeswax candles, the linen, the chalice, the paten, the cruets etc., are all meant to be set apart for the worship of God and therefore they should be the most valuable, be in the purest state, be of the best quality, so as to better represent and reflect the qualities of God; qualities such as Beauty, Purity, Timelessness, Strength, the Omniscience of God.
(2 of 6)
Therefore, we too, as choir members, as musicians, as music and choir directors, are ‘set apart’, called to sanctity, for the specific purpose of Holy Mass. The music has to reflect that value and beauty.
(3 of 6)
We have to represent the angels not just in the choir, but in our own lives. In the lives we live. We have to strive to be as pure as we can, as holy as we can…to sing from a pure heart, to live a pure life. We have to strive to be humble and not to be ‘performing’ from a place of pride.
(4 of 6)
We should try to reflect the beauty of God, to have a certain quality about us such that people can tell that we are distinguishable as choir members, in the way we try to live. So we should prepare, not just the music that we sing and direct, but we should keep in mind our spiritual preparation as well…we should try to keep our souls as pure and as holy as we possibly can, so as to better represent the angels.
(5 of 6)
Among our choir members, we should strive for Charity and Harmony among the members. A united, harmonious choir will sing and sound better.
(6 of 6)
The choir director should lead by example. People need to see that we live a purity of life that inspires. Joy, Devotion, Love, Patience…all these and more should emanate from our lives and the way we live.

Most surprising learning point • I had never before heard of the teaching of ex opere operantis and ex opere operato. So, it was surprising to me that my role as a choir member and a choir director, in fact my responsibility at ensuring that I kept my soul pure and my faith strong, and my thoughts turned towards the good… all these were more important than I ever realized. I had a part to play in the amount of graces that were available to the congregation at that particular Mass where I served. How, you ask? Well…

Google This! • So, as Father Fryar mentioned, the Mass has all the graces from Calvary, there, from the Mass itself, and the Latin phrase for it is ‘ex opere operato’. Google it. I did. I had to read it several times over, and I’m still trying to digest all that it means….but suffice to say, there is a huge amount of grace available at every Mass, in the Mass itself.

Everything Else • Then there is the ‘ex opere operantis’ which is everything else to do with the Mass. So, if the music, the architecture, the accoutrements, etc. are beautiful, valuable, pure and extremely fitting for the Mass, the result of all that is that we all benefit from more graces just out of attending that particular Mass. Conversely, if the priest or altar servers are in a state of mortal sin, or the chalice used is made out of an inferior material like plastic, or if the choir members are living immoral lives, then everyone who attends that Mass is shortchanged … is deprived of all the graces that could have come from attending that Mass. It is amazing to think that we have the privilege of helping every single person in the congregation grow closer to God in the liturgy and in the Mass just from us being aware that we need to live these virtues in our lives. We have an important part to play in how much of the graces can be received at that particular celebration of the Mass!

That being said, PLEASE read the whole transcript or listen to a recording of the talk. It is very good.

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

Filed Under: Articles, PDF Download Tagged With: Fr James Fryar FSSP, Sacred Music Symposium 2022 Last Updated: December 26, 2023

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About Corrinne May

Corrinne May is one of Singapore’s most celebrated singer-songwriters. She is also a wife and homeschooling mother.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    Music List • (2nd Sunday of Lent)
    Readers have expressed interest in seeing the ORDER OF MUSIC I created for this coming Sunday, which is the 2nd Sunday of Lent (1 March 2026). If such a thing interests you, feel free to download it as a PDF file. This feast has magnificent propers. Its somber INTROIT is particularly striking—using a haunting tonality—but the COMMUNION with its fauxbourdon verses is also quite remarkable. I encourage all the readers to visit the feasts website, where the Propria Missae may be downloaded completely free of charge.
    —Jeff Ostrowski
    Like! Like! Like!
    You won’t believe who recently gave us a “like” on the Corpus Christi Watershed FACEBOOK PAGE. Click here (PDF) to see who it was. We were not only sincerely honored, we were utterly flabbergasted. This was truly a resounding endorsement and unmistakable stamp of approval.
    —Jeff Ostrowski
    Which Mass?
    In 1905, when the Vatican Commission on Gregorian Chant began publishing the EDITIO VATICANA—still the Church’s official edition— they assigned different Masses to different types of feasts. However, they were careful to add a note (which began with the words “Qualislibet cantus hujus Ordinarii…”) making clear “chants from one Mass may be used together with those from others.” Sadly, I sometimes worked for TLM priests who weren’t fluent in Latin. As a result, they stubbornly insisted Mass settings were ‘assigned’ to different feasts and seasons (which is false). To understand the great variety, one should examine the 1904 KYRIALE of Dr. Peter Wagner. One should also look through Dom Mocquereau’s Liber Usualis (1904), in which the Masses are all mixed up. For instance, Gloria II in his book ended up being moved to the ‘ad libitum’ appendix in the EDITIO VATICANA.
    —Jeff Ostrowski

Quick Thoughts

    Extreme Unction
    Those who search Google for “CCCC MS 079” will discover high resolution images of a medieval Pontificale (“Cambridge, Corpus Christi College, MS 079”). One of the pages contains this absolutely gorgeous depiction of the Sacrament of Extreme Unction.
    —Corpus Christi Watershed
    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

“It is also customary in many lands that a brief but meaningful hymn be sung between the Gospel and the sermon. (I note in passing that this custom also preserves the original and primary function of the medieval congregational hymn, which was to frame the sermon.)”

— Professor László Dobszay (2003)

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