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Views from the Choir Loft

Report • “Musical Shape of the Liturgy Conference”

Dr. Charles Weaver · November 9, 2023

HIS WEEK the Catholic Institute of Sacred Music, a new initiative headed by Dr. Jennifer Donelson-Nowicka, held a conference in honor of the life and work of the extraordinary William Mahrt. The conference took place at St. Patrick’s Seminary in Menlo Park, CA. This is the seminary of the Archdiocese of San Francisco, where Dr. Donelson-Nowicka is a professor. As is usual with academic conferences, the schedule was packed with papers. Less usual, at least for music-related fields, was that many of the papers were presented in hour-long blocks, with 40–45 minutes for the paper, followed by 15–20 minutes of question time. This allowed for an amount of depth and detail that was unusual. Most time blocks had three papers going simultaneously, which left the participants with some hard choices. There were some more papers I wish I could have seen.

Also unusually for music conferences (at least in my experience), solemn Catholic liturgies were held several times a day between the paper sessions: Lauds, Vespers, Solemn Mass. The music was provided by Mahrt’s own St. Ann Choir, with conducting by Mahrt, Donelson-Nowicka, and David Hughes, my long-time former director in Norwalk. The singing was quite good. I particularly enjoyed sitting behind Fr. Bachmann, choirmaster at Clear Creek Abbey, during the office. He sounds like a monk of the Solesmes congregation, because that’s exactly what he is.

I had to arrive late and leave early because of schedule constraints, but I was able to attend three plenary events: keynote papers by Dr. Joseph Dyer on some Old Roman chant and Sr. Maria Kiely (of Solesmes!) on Latin as a sacred language and some of its rhetorical qualities in liturgical use. The third event was the banquet, with some very moving tributes to Mahrt and his influence.

As you might expect, I followed a chant-oriented itinerary through the conference papers. Especially noteworthy were two papers touching on the rhythm of Gregorian chant. Br. John Glasenapp (of Meinrad Archabbey) presented some really interesting research on the Cistercian reform of the chant repertoire in the late middle ages. He used this as a way to raise questions about some patterns of narrative (i.e., decay-restoration or decadence-reform) that recur throughout the history of the repertoire. Perhaps closer to my own research topics was a really interesting paper by Steven Ottományi on language and rhythm in chant. He was mainly looking at the Pothier-Mocquereau dispute, trying to come up with new and better ways to describe points of agreement and difference. His boldest claim is that the difference between their ways of accentuating chant may relate to regional variations in the way French is spoken in their birthplaces. Obviously such a cause, if it is true, is not entirely demonstrable and also would be in some quite deep stratum of their mental furniture, but it was an interesting point.

I also gave a paper this morning, on the connection between Mocquereau and various nineteenth- and twentieth-century theorists. It was based on the research in the fourth chapter of my recent dissertation. In some ways, I think my points were quite complementary with those of Glasenapp and Ottományi. Say of Mocquereau what you will as a chant practitioner, but I’m heartened to see the interest in my research looking at him as a theorist of music. The rhythmic signs, which have proven so controversial in chant circles, are really a very small part of Mocquereau’s theory.

From my point of view, the conference was quite successful. There was a lot of interesting scholarship to take in, and it was inspiring to see the fruits of Dr. Mahrt’s long career as both a practicing musician and a scholar, and a generous teacher. I hope to see many more such conferences in the future!

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

Filed Under: Articles Tagged With: Beauty in the Catholic Liturgy, Cantus Gregorianus, Church Music Association of America CMAA, Church music conference, Dom Mocquereau, Dom Pothier, Gregorian Chant Last Updated: November 10, 2023

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About Dr. Charles Weaver

Dr. Charles Weaver is on the faculty of the Juilliard School, and serves as director of music for St. Mary’s Church. He lives in Connecticut with his wife and four children.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    “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
    “Yahweh” in church songs?
    My pastor asked me to write a weekly column for our parish bulletin. The one scheduled to run on 22 June 2025 is called “Three Words in a Psalm” and speaks of translating the TETRAGRAMMATON. You can read the article at this column repository. All of them are quite brief because I was asked to keep within a certain word limit.
    —Jeff Ostrowski
    “Music List” • Pentecost Sunday
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for Pentecost Sunday (8 June 2025). If such a thing interests you, feel free to download it as a PDF file. Because our choir is on break this week, the music is relatively simple.
    —Jeff Ostrowski

Quick Thoughts

    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
    When to Sit, Stand and Kneel like it’s 1962
    There are lots of different guides to postures for Mass, but I couldn’t find one which matched our local Latin Mass, so I made this one: sit-stand-kneel-crop
    —Veronica Brandt
    The Funeral Rites of the Graduale Romanum
    Lately I have been paging through the 1974 Graduale Romanum (see p. 678 ff.) and have been fascinated by the funeral rites found therein, especially the simply-beautiful Psalmody that is appointed for all the different occasions before and after the funeral Mass: at the vigil/wake, at the house of the deceased, processing to the church, at the church, processing to the cemetery, and at the cemetery. Would that this “stational Psalmody” of the Novus Ordo funeral rites saw wider usage! If you or anyone you know have ever used it, please do let me know.
    —Daniel Tucker

Random Quote

Far from dreading an encounter with the Iroquois, Fr. Garnier often told us he would be quite content to fall into their hands and remain their prisoner if—while they were torturing him—he at least had a chance of instructing them as long as his torments lasted. If they allowed him to live, it would afford him a golden opportunity to work for their conversion, which was now impossible, since the gateway to their country was closed as long as they were our enemies.

— Father Ragueneau (Jesuit Relations)

Recent Posts

  • “Booklet of Eucharistic Hymns” (16 pages)
  • PDF Download • “Text by Saint Francis of Assisi” (choral setting w/ organ: Soprano & Alto)
  • “Yahweh” in church songs?
  • “Music List” • Pentecost Sunday
  • “Participation” • Recovering its Receptive Dimension

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