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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

PDF • 2014 Dissertation: “Plainchant Influence on the Liturgical Music of Dr. Marier” (324 pages)

Jeff Ostrowski · February 15, 2023

HIS YEAR, the Sacred Music Symposium is dedicated to Dr. Theodore Marier (d. 2001), and will close with a lecture on his life and music, presented by Richard J. Clark, who currently serves as Director of Music for the Archdiocese of Boston, where Dr. Marier founded a famous choir school in Harvard Square. You should consider attending this year’s Symposium. I can’t reveal all the details yet, but I can assure you: it will be unforgettable. While I personally never met him, Ted Marier seems to have been a Christian husband and father filled with the Lord’s joy. He also “put his money where his mouth is.” That is to say, Dr. Theodore Marier conducted church music in real life, as opposed to just talking about it. Indeed, our Symposium has distinguished itself by its presenters, who (like Marier) have spent their lives conducting choirs in real life.1

Magnificent Dissertation • Our organization has been given permission to post an absolutely magnificent doctoral dissertation by Dr. William Atwood, Diocesan Director of Music for the Diocese of Bridgeport Connecticut. This treatise is a “must read” for anyone who cares about liturgical music in the Catholic Church. Its official title is: “The Influence of Plainchant on the Liturgical Music of Theodore Marier.” However, its 324 pages do much more than simply look at Marier’s music:

*  PDF Download • MARIER DISSERTATION (2014)
—“The Influence of Plainchant on the Liturgical Music of Theodore Marier” • 324 pages.

An example of the way Dr. Marier incorporated plainsong:

Summary Of Marier’s Life • In his dissertation, Dr. William Atwood mentions an excellent tribute to Dr. Marier, written by the legendary Dr. Robert A. Skeris. You can download that tribute here:

*  PDF Download • TRIBUTE TO MARIER
—Written by his friend, Monsignor Robert Skeris.

42516-Wedding-1941-Theodore-Marier-Ted-Marier-Photograph
42520-Theodore-Marier-Ted-Marier-Photograph
42518-St-Paul-Theodore-Marier-Ted-Marier-Photograph
42519-Dom-Gajard-Theodore-Marier-Ted-Marier-Photograph
42513-Cartoon-Theodore-Marier-Ted-Marier-Photograph
42515-At-The-Piano-1942-Theodore-Marier-Ted-Marier-Photograph
42514-In-His-Study-2000-Theodore-Marier-Ted-Marier-Photograph
42517-Playing-Organ-In-1936

1 Please note: I’m not saying it’s wrong to write articles about authentic sacred music. What I’m saying is this: writing articles is one thing, whereas standing in front of a parish choir in real life is something else entirely. Only those who have stood in front of a parish choir in real life can understand the unique challenges this presents.

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

Filed Under: Articles, Featured, PDF Download Tagged With: Dr Theodore Marier, Theodore Marier Last Updated: February 15, 2023

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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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Corpus Christi Watershed

President’s Corner

    Why A “Fugue” Here?
    I believe I know why this plainsong harmonizer created a tiny fugue as the INTRODUCTION to his accompaniment. Take a look (PDF) and tell me your thoughts about what he did on the feast of the Flight of Our Lord Jesus Christ into Egypt (17 February). And now I must go because “tempus fugit” as they say!
    —Jeff Ostrowski
    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

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

“It was amusing to read in our papers that German Catholics were now using the vernacular at High Mass. In some parts of Germany they have been doing just that for well-nigh four hundred years! The cathedral in Osnabruck has solemn High Mass every Sunday with the whole chapter present, and the introit Gloria, Credo, Sanctus and Agnus Dei are sung … in German. Imagine, for four hundred years almost!”

— Hans Ansgar Reinhold (Dec. 1944)

Recent Posts

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  • “Puzzling Comment” • By A Respected FSSP Priest
  • New Bulletin Article • “12 October 2025”
  • “Reminder” — Month of October (2025)

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