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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

“An Initiation to Gregorian Chant” (Msgr. Turco)

Guest Author · November 26, 2023

Guest article by
Fr. Stephen Concordia, OSB
of Saint Vincent Archabbey
An Initiation to Gregorian Chant
by Monsignor Alberto Turco.

I. How this book came to be
This new book—“An Initiation to Gregorian Chant”—was written by Monsignor Alberto Turco at the request of the Preside (Dean) of the PONTIFICAL INSTITUTE OF SACRED MUSIC (PIMS) in Rome. Aware of the growing number of disciplines involved in the study of plainsong nowadays, the Preside saw the need for an up-to-date yet succinct volume that would provide new students at PIMS with a broad foundation with which they would be better prepared for the formal curriculum in Gregorian chant. He may have recognized, too, an advantage of a book of this type, in that it presents a synthesis of the thoughts of one scholar on many topics about which that scholar has been thinking, teaching, and writing, for a very long time. This book is also the first in a new series of publications by the PONTIFICAL INSTITUTE OF SACRED MUSIC in collaboration with the Libreria Editrice Vaticana (Vatican Editions).

II. Introducing Msgr. Alberto Turco
Monsignor Alberto Turco, of the Diocese of Verona, Italy is a Professor Emeritus of PIMS, Rome. He completed his doctoral studies in Gregorian chant at the Pontifical Institute of Sacred Music in Milan, writing his dissertation under Dom Jean Claire, OSB (d. 2006), the legendary choirmaster of the Abbey of Solesmes. Monsignor Turco remains a devoted disciple of Dom Claire and continues to carry forward Claire’s own research on the science of Gregorian modality. In his home city of Verona, Monsignor Turco founded the Dom Jean Claire Center for the Study of Gregorian Chant and Other Liturgical Monodies. This organization, under Monsignor Turco’s direction, includes a team young scholars, singers, and instrumentalists who have produced numerous CDs and a variety of other publications, e.g., the Liber Gradualis. For decades now, the Jean Claire Center and Monsignor Turco offer summer chant courses throughout Italy, Europe, and beyond. Monsignor Turco, in addition to teaching and regularly publishing his research on Chant, has throughout his life been an active practicing church musician. In 1965, he was named choirmaster of the Cathedral of Verona, resigning only a few years ago. He was one of the original members of the “Nova Schola Gregoriana” founded in the 1960’s by Don Luigi Agustoni. Monsignor Turco assumed the direction at Don Agustoni’s retirement and continues to lead the renowned Schola in concerts, tours, and on recordings. Monsignor Turco founded and directs the Women’s Schola “In dulci Iubilo.” Monsignor Turco, at 85, shows no sign of slowing down.

III. A selection of themes
and author’s points of view in
“An Initiation to Gregorian Chant”

(a.) At the very beginning of his book the author states his perspective on the essence and function of Gregorian chant.

Gregorian chant is the chant of the “Word” of the liturgies of the Roman Church; the chant not of just any word, created by humans, but of the “Word of God”, the chant of the VERBUM who in the fullness of time took on a human appearance: “In the beginning was the Word…and the Word became flesh”. In principio erat Verbum…et Verbum caro factus est (John 1: 1). The primary function of chant, then, “is to be a ‘vehicle’ by which the VERBUM communicates with His people.”

(b.) Prof. Turco asks his students to become well-acquainted with the chant repertory, by which he means to grow in appreciation of the following:

1. the different liturgical-musical forms of Gregorian chant, and the circumstances of their appearance in church history. For example, the liturgical-musical form of the Introit came into being when there was a liturgical need to accompany the entrance of the celebrant (Pope, Bishop) into a Basilica or Cathedral. In earlier centuries, when the Eucharist was celebrated in a private home, or in the Catacombs, there would not have been need for, or even room for the solemn ritual entrance of an Introit.

2. the presence, throughout the repertory, of the three melodic genres of Gregorian chant. syllabic (also known as declamatory), ornate, semi-ornate, and the connection of each liturgical-musical form to a corresponding melodic genre. For instance, the Introit and Communion Antiphons are in semi-ornate genre, while the Celebrant’s prayers, and the readings at Mass are chanted in syllabic, (declamatory) genre. More than one genre can appear in a single chant, as in an Introit or Communion Antiphon. The Antiphon is chanted by the Schola in semi-ornate genre, while the psalm Verse is typically chanted by a soloist in syllabic genre. These are not trivial distinctions, as each melodic genre creates its own distinct relationship to the sacred text.

3. Another distinction observed in the Gregorian melodies illustrates the various compositional procedures employed by the composers of chant. One such procedure is the “melody type” wherein a single melody is used for more than one text– a kind of “recycling” of a melody. The use of melody types would have answered the need for new antiphons in a period of geographic and liturgical expansion of the Church. Other compositional procedures with identical melodies are “modal templates” and “centonizations”. There are “original” melodies as well, in Gregorian chant, without any melodic resemblance to other chants in the repertory.

4. There are three types of Psalmody in the Gregorian repertory, a fact which suggests an historical evolution of Psalmody. The most ancient is Psalmody in directum, typically sung by a soloist, appropriate to a phase in Church history when there were few literate, competent cantors. Responsorial Psalmody answered a different need in the Church, namely, a desire for more participation of the assembly. Antiphonal Psalmody became possible only when a sufficient number of trained cantors were present, as in a mature monastic community.

5. As you may have guessed by now, on most every topic, there will likely be some historical commentary to be made. This is yet another aspect of chant study about which Professor Turco asks for our growing appreciation. As Catholic Church musicians it is, after all, a deepening of appreciation of the history of our work. The importance of the historical perspective is to be expected with a history as extensive as that of Gregorian chant. Although this book does not pretend to be a history of Gregorian Chant, it does provide an up-to-date, differentiated frame of reference.

IV. Section Four: Text and Rhythm of Gregorian Chant

This section begins with a second statement on the ‘essence’ of Chant:

“Gregorian chant is, essentially, a text in the Latin language, inextricably linked to a melody. From that text, which is primarily a prayer, the composer draws inspiration for the melody, submitting that melody to the rhythm of the word.”

Note on Gregorian Semiology • In “An Initiation” Monsignor Turco does not offer a chapter on Gregorian Semiology. There is an introduction to the Manuscript sources, in which the basics of musical notation in “neumes” are explained, but the application of this knowledge to an interpretation of a specific chant is not offered. One explanation for this choice of Monsignor Turco can be found in an earlier book of his, where we read:

The Gregorian composers spoke Latin: they knew the meaning of the words and their grammatical, logical, and stylistic functions. Above all, they knew the rhythm of the text, its rhythmic unity, and its rhythmic equilibrium. For them, verbal style constitutes the foundational layer of the musical composition. Today, this knowledge and practice of Latin—essential presuppositions for a correct interpretation and performance of Gregorian chant—are not at all familiar. Filling in this gap, at least in part, before undertaking the specific study of paleographic Gregorian notation [semiology]…is obvious.1 Semiology is at the service of the text. If the word, if the phrase, do not flow from the process of accentuation…every semiological detail added to this absence of linear direction will inevitably bear false results.” 2

In place of a presentation of Gregorian Semiology Monsignor Turco offers that which he maintains should precede the study of Semiology. This very substantial chapter is Interpretation in Verbal Style. Essentially, the chapter is a proposal of criteria for chant performance practice.

Chapter Four presents fifteen (15) pages of “examples of textual, melodic-modal and rhythmic analysis.” Each example, is meticulously clear, and logical. Having said that, I hasten to add that working through each example, striving to assimilate all the parameters and elements of “verbal style” in the singing of each example, is a challenging exercise in music analysis and more importantly, exercise of ear-training. This will be true even for experienced, trained musicians. The examples consist of a cantillation of a reading, a proclamation of a psalm tone, and a selection of eight Office antiphons in both syllabic and semi-ornate genres. The analyses presented here can serve as models for students to practice with other antiphons of the repertory and for schola directors to apply to score preparation. The structure of the Liturgy, the Mass and of the Divine Office presents the up-to-date forms of square notation.

More Chapters:

There are many other important and useful topics presented here by Monsignor Turco which I will only name, leaving for you the experience of discovering them.

Section Five, on The Octoechos, presents the Gregorian Modal System, including the “Archaic Modes”, which appear in the newest books of chant prepared by Solesmes. Monsignor Turco, with his Maestro, Dom Jean Claire, O.S.B. are largely responsible for the research which allowed the recovery of these more ancient modes, bringing them back to be sung in today’s Liturgical prayer.

Section Six presents a pedagogy of the practice of Psalmody with explanations of the formula of each Psalm Tone, and how to apply them to texts of the psalms.

The Tones presented are the following:

Psalm tones of the Octoechos (Modes I-VIII and Tonus Peregrinus)

Pre-Octoechos Psalmtones

  • Psalmtone C
  • Psalmtone D
  • Psalmtone E
  • Psalmtone II*
  • Psalmtone IV*

An Initiation to Gregorian Chant
By Monsignor Alberto Turco
Translated by Stephen Concordia, OSB
Published by Vatican Editions (Rome, 2023)
and printed in the USA by Archabbey Publications.

*  Amazon • Purchase This Book

You may also purchase at Saint Vincent College Bookstore. While the retail price is $35 USD, discounted copies are available to readers of CORPUS CHRISTI WATERSHED for $20 USD. (Contact the bookstore for details.)

We hope you enjoyed this guest article
by Father Stephen Concordia.

Father Stephen Concordia, O.S.B. is a monk and priest of Saint Vincent Archabbey in Latrobe, PA. He received a B.M. in piano and an M.M. in Theoretical Studies from the New England Conservatory of Music, Boston, and a Licentiate/Diploma in Organ, and Licentiate/Diploma in Gregorian Chant from the PONTIFICAL INSTITUTE OF SACRED MUSIC in Rome, where his chant teachers were Nino Albarosa and Alberto Turco. His activities in the field of Gregorian chant include recordings with the Monastic Schola of the Abbey of the Montecassino (FONÉ/Pisa), and with the Schola Cantorum of Holy Family (JADE). He conducted the Saint Vincent Schola Gregoriana in performances with Manfred Honeck and the Pittsburgh Symphony Orchestra at Heinz Hall in 2009 and 2012. He taught Gregorian chant at the Pontifical Liturgical Institute ‘Sant Anselmo’, Rome (1998-2000), Saint Vincent College (2008-2018) and—while interim Coordinator of the Sacred Music Program—at Franciscan University of Steubenville (2018-2020). Since 2008, Fr. Stephen is the Director of the Saint Vincent Camerata, a semi-professional chamber choir whose recent performances include collaborations with the Schola Cantorum Franciscana of Franciscan University in performances of the “German Requiem” of Brahms (2019) and the world premiere of the “All-Saints Requiem” by Douglas Starr (2020). He serves on the faculty of the Saint Gregory Institute of Sacred Music.

1 The Gregorian Melody, The Expressive Power of the WORD page 18.
2 Cf. J.Claire, “Dom Eugene Cardine,” Études Grégoriennes 23 (1989): 22, ibid.

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

Filed Under: Articles Last Updated: November 27, 2023

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President’s Corner

    PDF Comparison Chart • “Serious Problems with the Lectionary Translation”
    EARS BEFORE truly revolutionary changes were introduced by the post-conciliar reformers, Evelyn Waugh wrote (on 16 August 1964) to John Cardinal Heenan: “I think that a vociferous minority has imposed itself on the hierarchy and made them believe that a popular demand existed where there was in fact not even a preference.” We ask the kind reader— indeed, we beg you—to realize that those of us born in the 1940s and 1950s had no cognizance of Roman activities during the 1960s and 1970s. We were concerned with making sure we had the day’s bus fare, graduating from high school, taking care of our siblings, learning a trade, getting a job, courting a spouse. We questioned neither the nuns nor the Church.1 Do not believe for one instant any of us were following the liturgical machinations of Cardinal Lercaro or Father Bugnini in real time. Setting The Stage • To never question or resist Church authorities is praiseworthy. On the other hand, when a scandalous situation persists for decades, it must be brought into focus. Our series will do precisely that as we discuss the Lectionary Scandal from a variety of angles. We don’t do this to attack the Catholic Church. Our goal is bringing to light what’s been going on, so it can be fixed once and for all. Our subject is extremely knotty and difficult to navigate. Its complexity helps explain why the situation has persisted for such a long time.2 But if we immediately get “into the weeds” we’ll lose our audience. Therefore, it seems better to jump right in. So today, we’ll explore the legality of selling these texts. A Word On Copyright • Suppose Susie modifies a paragraph by Edgar Allan Poe. That doesn’t mean ipso facto she can assert copyright on it. If Susie takes a picture of a Corvette and uses Photoshop to color the tires blue, that doesn’t mean she henceforth “owns” all Corvettes in America. But when it comes to Responsorial Psalm translations, certain parties have been asserting copyright over them, selling them for a profit, and bullying publishers vis-à-vis hymnals and missals. Increasingly, Catholics are asking whether these translations are truly under copyright—because they are identical (or substantially identical) to other translations.3 Example After Example • Our series will provide copious examples supporting our claims. Sometimes we’ll rely on the readership for assistance, because—as we’ve stressed—our subject’s history couldn’t be more convoluted. There are countless manuscripts (in Greek, Hebrew, and Latin) we don’t have access to, so it would be foolish for us to claim that our observations are somehow the ‘final word’ on anything. Nevertheless, we demand accountability. Catholics in the pews are the ones who paid for all this. We demand to know who specifically made these decisions (which impact every English-speaking Catholic) and why specifically certain decisions were made. The Responsorial Psalms used in America are—broadly speaking—stolen from the hard work of others. In particular, they borrowed heavily from Father Cuthbert Lattey’s 1939 PSALTER TRANSLATION:
    *  PDF Download • COMPARISON CHART —We thank the CCW staff for technical assistance with this graph.
    Analysis • Although certain parties have been selling (!!!) that translation for decades, the chart demonstrates it’s not a candidate for copyright since it “borrows” or “steals” or “rearranges” so much material from other translations, especially the 1939 translation by Father Cuthbert Lattey. What this means in layman’s terms is that individuals have been selling a translation under false pretenses, a translation they don’t own (although they claim to). To make RESTITUTION, all that money will have to be returned. A few years ago, the head of ICEL gave a public speech in which he said they give some of “their” profits to the poor. While almsgiving is a good thing, it cannot justify theft. Our Constant Theme • Our series will be held together by one thread, which will be repeated constantly: “Who was responsible?” Since 1970, the conduct of those who made a profit by selling these sacred texts has been repugnant. Favoritism was shown toward certain entities—and we will document that with written proof. It is absolutely essential going forward that the faithful be told who is making these decisions. Moreover, vague justifications can no longer be accepted. If we’re told they are “making the translations better,” we must demand to know what specifically they’re doing and what specific criteria they’re following. Stay Tuned • If you’re wondering whether we’ll address the forthcoming (allegedly) Lectionary and the so-called ABBEY PSALMS AND CANTICLES, have no fear. We’ll have much to say about both. Please stay tuned. We believe this will end up being the longest series of articles ever submitted to Corpus Christi Watershed. To be continued. ROBERT O’NEILL Former associate of Monsignor Francis “Frank” P. Schmitt at Boys Town in Nebraska JAMES ARNOLD Formerly associated w/ King’s College, Cambridge A convert to the Catholic Church, and distant relative of J. H. Arnold MARIA B. Currently serves as a musician in the Roman Catholic Diocese of Charlotte. Those aware of the situation in her diocese won’t be surprised she chose to withhold her last name.
    1 Even if we’d been able to obtain Roman journals such as NOTITIAE, none of them contained English translations. But such an idea would never have occurred to a high school student or a college student growing up in the 1960s. 2 A number of shell corporations claim to own the various biblical translations mandated for Roman Catholics. They’ve made millions of dollars selling (!) these indulgenced texts. If time permits, we hope to enumerate these various shell corporations and explain: which texts they claim to own; how much they bring in each year; who runs them; and so forth. It would also be good to explore the morality of selling these indulgenced texts for a profit. Furthermore, for the last fifty years these organizations have employed several tactics to manipulate and bully others. If time permits, we will expose those tactics (including written examples). Some of us—who have been working on this problem for three decades—have amassed written documentation we’ll be sharing that demonstrates behavior at best “shady” and at worst criminal. 3 Again, we are not yet examining the morality of selling (!) indulgenced texts to Catholics mandated to use those same translations.
    —Guest Author
    “Music List” • 17th in Ordinary Time (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 17th Sunday in Ordinary Time (27 July 2025). 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 the feasts website.
    —Jeff Ostrowski
    Communion • “Ask & You Shall Receive”
    All of the chants for 27 July 2025 have been added to the feasts website, as usual under a convenient “drop down” menu. The COMMUNION ANTIPHON (both text and melody) are exceedingly beautiful and ancient.
    —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

When Christ gave the bread, he did not say, “This is the symbol of my body,” but, “This is my body.” In the same way, when he gave the cup of his blood he did not say, “This is the symbol of my blood,” but, “This is my blood.”

— Theodore, Bishop of Mopsuestia, writing in the 5th Century

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