• Skip to primary navigation
  • Skip to main content
  • Skip to primary sidebar

Corpus Christi Watershed

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.”

  • Donate
  • Our Team
    • Our Editorial Policy
    • Who We Are
    • How To Contact Us
    • Sainte Marie Bulletin Articles
    • Jeff’s Mom Joins Fundraiser
  • Pew Resources
    • Brébeuf Catholic Hymnal
    • Jogues Illuminated Missal
    • Repository • “Spanish Music”
    • KYRIALE • Saint Antoine Daniel
    • Campion Missal, 3rd Edition
  • MUSICAL WEBSITES
    • René Goupil Gregorian Chant
    • Noël Chabanel Psalms
    • Nova Organi Harmonia (2,279 pages)
    • Roman Missal, 3rd Edition
    • Catechism of Gregorian Rhythm
    • Father Enemond Massé Manuscripts
    • Lalemant Polyphonic
    • Feasts Website
  • Miscellaneous
    • Site Map
    • Secrets of the Conscientious Choirmaster
    • “Wedding March” for lazy organists
    • Emporium Kevin Allen
    • Saint Jean de Lalande Library
    • Sacred Music Symposium 2023
    • The Eight Gregorian Modes
    • Gradual by Pothier’s Protégé
    • Seven (7) Considerations
Views from the Choir Loft

Gregorian Rhythm Wars • “Feedback from Dom Stephen Concordia”

Corpus Christi Watershed · November 16, 2022

Message from Jeff Ostrowski: “I see that my colleague, Mr. Patrick Williams, has added another installment to the Gregorian Rhythm Wars series. I will certainly respond, but not immediately. I try to avoid ‘knee-jerk’ responses. My preference is to first consider carefully my response (for a few days) before posting. There is no rush. I suspect our series will continue for a considerable period of time. Needless to say, our series will only terminate once everyone agrees that my views are correct, perfect, and incontrovertible.”

M The following was sent to us
M by Dom Stephen Concordia, OSB.
M (Reproduced with permission).

FTEN HAVE I THOUGHT of writing to Corpus Christi Watershed to express my gratitude for your work. I’m writing to you now to contribute a few words to your series “Chant Rhythm Wars”. It’s sad to say that your choice of the word ‘Wars’ has been—at least at certain times in our history—accurate. I’ve been a Benedictine monk since 1989, first at Montecassino, and since 2008 at Saint Vincent Archabbey, and the debates have been at times harsh and unfair … and sometimes worse. I greatly appreciate your hospitality and willingness to engage in dialogue. By way of introduction, I first studied chant according to the Solesmes Method, and with Ward Method pedagogy, with Dr. Theodore Marier at Catholic University. Just a few years later, as an organ student at the Pontifical Institute of Sacred Music in Rome, I was required to study Semiology with Nino Albarosa, an early disciple of Dom Eugène Cardine, and Gregorian Modality with Alberto Turco, a disciple of Dom Jean Claire. I then chose to complete a DIPLOMA (Magistero) in chant with the same faculty. Since then, I have continued to be active with teaching, directing, offering workshops, and—more recently—translating recent chant textbooks by Alberto Turco from Italian to English. I’ve been a professor of Gregorian Chant at the Pontifical Liturgical Institute Sant’Anselmo (Rome); at Saint Vincent College here in Latrobe; at Franciscan University of Steubenville; at Duquesne University; and I’ve offered numerous workshops.

A. Now, regarding Mr. Jeff Ostrowski’s assertion that the Solesmes Method is the Official method of interpreting the rhythm of chant, there are numerous points of fact to the contrary:

1. Why is this supposed law known to so few practitioners?
2. At Papal liturgies where chant is sung, and a worship aid has been printed for the congregation that includes the chant melodies for the congregation to sing, the rhythmic signs of Solesmes are entirely absent.
3. The 2nd Vatican Council mandated the publication of a volume of chant for use in smaller churches and parishes; namely, the Graduale Simplex. Once again the rhythmic signs of Solesmes are entirely absent.

B. Regarding the assertion that the Solesmes Method recreates the original rhythm of chant:

The semiologists would affirm: To approach an interpretation as close as possible to an “original” rhythm there is no witness, no testimony, no factual evidence historically closer than the adiastematic neumes.

C. Regarding the predominant role of the word in chant interpretation:

1.The “composers” of Gregorian chant spoke Latin, they knew the sound of the words and their rhythmic qualities. Knowing of their passion for Latin grammar, and the Roman grammarians, it is unlikely that they would have sung in a manner contrary to the rules of Latin pronunciation. For instance… the Solesmes method does respect the words, but it also advocates for the “the subordination of the words to the melody” (Dom Gajard). This notion, together with the rule of the “indivisible beat’ cannot help but result often in mistaken pronunciations, additions of, and exaggerations of, accents.

Thank you again! With all best wishes and blessings on your work.

Fr. Stephen Concordia, O.S.B.

P.S.

Volumes of chant pedagogy by Alberto Turco and translated into English by Fr. Stephen Concordia OSB:

(1) Tones & Modes (pp.328 (treatise on Gregorian modality) Rome, Torre D’Orfeo Ed.
(2) The Gregorian Melody: The expressive Power of the WORD (pp.250) Forthcoming from Liturgical Press, March 2023
(3) An Initiation to Gregorian Chant (pp.180 Forthcoming from Pontifical Institute of Sacred Music + Vatican Editions + Archabbey Publications, December, 2022

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

Filed Under: Articles Tagged With: Gregorian Rhythm Wars, Pontifical Institute of Sacred Music Last Updated: December 6, 2022

Subscribe

It greatly helps us if you subscribe to our mailing list!

* indicates required

Primary Sidebar

Corpus Christi Watershed

President’s Corner

    New Bulletin Article • “12 October 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 12 October 2025) talks about an ‘irony’ or ‘paradox’ regarding the 1960s switch to a wider use (amplior locus) of vernacular in the liturgy.
    —Jeff Ostrowski
    “Reminder” — Month of October (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
    “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

Quick Thoughts

    “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
    “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

And since it is becoming that holy things be administered in a holy manner, and of all things this sacrifice is the most holy, the Catholic Church, to the end that it might be worthily and reverently offered and received, instituted many centuries ago the holy canon, which is so free from error that it contains nothing that does not in the highest degree savor of a certain holiness and piety and raise up to God the minds of those who offer.

— Council of Trent (1562)

Recent Posts

  • “Three Reasons To Shun Bad Hymns” • Daniel B. Marshall
  • “Puzzling Comment” • By A Respected FSSP Priest
  • New Bulletin Article • “12 October 2025”
  • “Reminder” — Month of October (2025)
  • “American Catholic Hymnal” (1991)

Subscribe

Subscribe

* indicates required

Copyright © 2025 Corpus Christi Watershed · Isaac Jogues on Genesis Framework · WordPress · Log in

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.