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Views from the Choir Loft

Sacred Music Institute at Mount St. Mary’s, Cincinnati

Patrick Williams · May 15, 2023

OUNT ST. MARY’S SEMINARY & SCHOOL OF THEOLOGY (MTSM) in Cincinnati will present its fifth annual Sacred Music Institute July 19–21. According to the website, “The Institute serves parishes, priests and musicians in Catholic dioceses across the region by providing events and resources to those interested in and passionate about sacred music.” In keeping with the national Eucharistic Revival, this year’s theme is “Inheritors of Heaven: The Call to Eucharistic Worship.” Presenters will include liturgical music educator and mezzo soprano Catherine Fishlock; Dr. Richard K. Fitzgerald, director of music and organist at St. Joseph Cathedral in Columbus, Ohio; Ukrainian Byzantine Catholic priest Fr. Andrij Hlabse, S.J.; New Testament scholar and assistant professor Dr. Samuel Johnson; liturgical specialist Alexis Kazimira Kutarna; Dr. Mary Catherine Levri, director of music at the seminary; and CCWatershed contributor Andrew R. Motyka, cathedral and archdiocesan director of music and principal organist at the Cathedral of Ss. Peter and Paul in Indianapolis. Sessions will be offered on choral techniques, Gregorian chant, the role of the organ in the church music program, psalmody, and vocal technique, along with a panel Q&A session and keynote addresses on Eucharistic theology from the Eastern perspective and the Eucharist and scripture. In addition to the offerings mentioned above, the conference schedule will include Mass, Lauds, Vespers, Compline, and choir rehearsals, with four meals and two evening socials included in the registration cost of $275; lodging and breakfast are available for an additional $100.

St. Gregory Chapel
The Athenaeum, Cincinnati

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

Filed Under: Articles Last Updated: May 15, 2023

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President’s Corner

    Luis Martínez Must Go!
    Sevilla Cathedral (entry dated 13 December 1564): The chapter orders Luis Martínez, a cathedral chaplain, to stay away from the choirbook-stand when the rest of the singers gather around it to sing polyphony—the reason being that “he throws the others out of tune.” [Excerpt from “The Life of Father Francisco Guerrero.”]
    —Jeff Ostrowski
    Urgent! • We Desperately Need Funds!
    A few days ago, the president of Corpus Christi Watershed posted this urgent appeal for funds. Please help us make sure we’re never forced to place our content behind a paywall. We feel it’s crucial that 100% of our content remains free to everyone. We’re a tiny 501(c)3 public charity, entirely dependent upon the generosity of small donors. We have no endowment and no major donors. We run no advertisements and have no savings. We beg you to consider donating $4.00 per month. Thank you!
    —Jeff Ostrowski
    “Booklet of Eucharistic Hymns” (16 pages)
    I was asked to create a booklet for my parish to use during our CORPUS CHRISTI PROCESSION on 22 June 2025. Would you be willing to look over the DRAFT BOOKLET (16 pages) I came up with? I tried to include a variety of hymns: some have a refrain; some are in major, others in minor; some are metered, others are plainsong; some are in Spanish, some are in Latin, but most are in English. Normally, we’d use the Brébeuf Hymnal—but we can’t risk having our congregation carry those heavy books all over the city to various churches.
    —Jeff Ostrowski

Quick Thoughts

    Pope Pius XII Hymnal?
    Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.
    —Corpus Christi Watershed
    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed
    Antiphons Don’t Match?
    A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).
    —Corpus Christi Watershed

Random Quote

“…I started down the road of the liturgy, and this became a continuous process of growth into a grand reality transcending all particular individuals and generations, a reality that became an occasion for me of ever-new amazement and discovery. The incredible reality of the Catholic liturgy has accompanied me through all phases of life, and so I shall have to speak of it time and again.”

— Joseph Cardinal Ratzinger

Recent Posts

  • Luis Martínez Must Go!
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  • Available! • Free Rehearsal Videos for Agnus Dei “Mille Regretz” after Gombert (d. 1560)

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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.

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