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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 • “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
    “Music List” • 27th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 5 October 2025, which is the 27th Sunday in Ordinary Time (Year C). If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are conveniently stored at the spectacular feasts website alongside the official texts in Latin. Readers will want to check out the ENTRANCE CHANT posted there, which has a haunting melody (in the DEUTERUS MODE) and extremely powerful text.
    —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

At papal Masses, the regulations against tardiness were more stringent than at Masses celebrated by cardinals or bishops. Giovanni Maria Nanino records that any singer who is not in his place—and in his vestments—by the end of the repetition of the “Introit” will be fined eight vinti. At papal Vespers, the singer who is not present at the “Gloria Patri” of the first psalm pays a fine of fifty balocchi.

— Giovanni M. Nanino (d. 1607), Papal “Maestro di Cappella”

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  • “Reminder” — Month of October (2025)
  • “American Catholic Hymnal” (1991)
  • Involving Women in the Communion?

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