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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

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

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Corpus Christi Watershed

President’s Corner

    New Bulletin Article • “14 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 14 September 2025) discusses OFFERTORY ANTIPHONS and contains a wonderful quote by Archbishop Fulton J. Sheen.
    —Jeff Ostrowski
    PDF Download • Draft Copy (Pamphlet)
    A few days ago, I posted a draft copy of this 12-page pamphlet with citations about the laity’s “full, conscious, and active participation.” Its basic point or message is that choir directors should never feel embarrassed to teach real choral music because Vatican II explicitly ordered them to do that! We’ve received tons of mail regarding that pamphlet, with many excellent suggestions for improvement. Please feel free to chime in!
    —Jeff Ostrowski
    “Entrance Chant” • 23rd (Ordinary Time)
    This coming Sunday, 7 September 2025, is the 23rd Sunday in Ordinary Time (Year C). You can download the “Entrance Chant,” conveniently located at the feasts website. I also recorded a rehearsal video for it (freely available at the same website). The Communion Chant includes gorgeous verses in FAUXBOURDON. I attempted to create a rehearsal video for it, and it’s been posted at the feasts website, called by some: “church music’s best kept secret.”
    —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

The Princess of the Palatinate once described German Protestantism to Louis XIV with this formula: “In our country, everyone makes up his own little religion.” Every priest, or almost every priest, is at this point today. All the faithful have to say is “Amen.” They are still blessed when the pastor’s religion does not change every Sunday, at the whim of his reading, the foolery he has seen others at, or at his own pure fancy.

— Professor Louis Bouyer (1968)

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