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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

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

    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

“If he converses with the learned and judicious, he delights in their talent—if with the ignorant and foolish, he enjoys their stupidity. He is not even offended by professional jesters. With a wonderful dexterity he accommodates himself to every disposition. As a rule, in talking with women (even with his own wife) he is full of jokes and banter.”

— ‘Erasmus on St. Thomas More (England’s 1st lay Chancellor)’

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