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Views from the Choir Loft

Chants That Crowds Roar With Burning Hearts

Veronica Moreno · May 12, 2025

ATCHING BIG SPORTING events, you will sometimes hear the roar of an anthem suddenly fill the stadium. Maybe it is like the 7th inning stretch that our new Pope may have heard at a baseball game or the “Olé” they sing at soccer games. But there are special chants that crowds roar. They bring people together. Jonathan Haidt calls it a “hive switch” and he describes it as:

We have the ability (under special conditions) to transcend self-interest and lose ourselves (temporarily and ecstatically) in something larger than ouselves. . . [The hive switch is] a group-level adaptation designed by group-level selection for group binding . . . made out of neurons, neurotransmitters, and hormones.

I’ve been in many choirs where I’ve felt that switch “click.” Maybe first in my high school jazz choir, where we just blended well. Thinking about it, those mariachi groups that go from Mexican birthday party, to baptism, to corporate dinner, to everywhere else must have some deep expertise in this phenomenon because each even is a different group. Well, I’ve felt that click with them, especially when surrounded by family.

And of course, in our Church choirs, I could write an entire novel about this. When you listen to Mr. Ostrowki’s choirs, you’ll often hear how much effort we put in trying to be one blended unit singing to God with a very intimate earnestness.

To access this hymn’s media in the Brébeuf Portal, click here.

But what about those stadium chants for huge groups? Here is more from Haidt:

If evolution chanced upon a way to bind people together into large groups, the most obvious glue is oxytocin, a hormone and neurotransmitter produced by the hypothalamus. Oxytocin is widely used among vertebrates to prepare females for motherhood. . . What a lovely hormone!

I think this is what explains the feeling to see our Holy Father, not a professional musician (!), chant the Regina Caeli this Mother’s Day weekend.

Regina caeli laetare,alleluia.
Quia quem merúisti portáre, alleluia
Resurrexit, sicut dixit, alleluia.
Ora pro nobis Deum, alleluia
Gaude et laetare, Virgo Maria, alleluia
Quia surrexit Dominus vere, alleluia

Queen of Heaven, rejoice, alleluia.
For He whom you did merit to… pic.twitter.com/Px1Hy5lQIW

— EWTN News (@EWTNews) May 11, 2025

It’s the same feeling hearing my children, in their wobbly toddler voices, chant. Their voice melts my mother-heart. That’s why those videos go viral on social media.

So now, our Holy Father intones (and completes) the chant, and we sing with all of our hearts on fire for this Faith.

P.S.

I should add that this experience is magnified in retreats and in events like the Symposium! Just look at how these three participants remember:

(a) Eighty voices chanting compline nightly and leading the music at high Mass were profound experiences which, as I say, I will never forget.

(b) We breathed out praise together, beautifully. I felt so alive, so full of joy.

(c) Most especially, singing and learning with all like-minded and fervent Catholics, seeking to do the will of God in manifesting His Beauty through sacred music and to evangelize through our joint effort was the most touching and inspiring experience in my life.

(d) I had to stop singing for a moment while trying not to cry.

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

Filed Under: Articles Last Updated: May 12, 2025

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About Veronica Moreno

Veronica Moreno is married to a teacher and homeschools five children. She has been cantor at her local Catholic parish for over a decade.—(Read full biography).

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President’s Corner

    Proof Which All Can Immediately See!
    “A little knowledge is a dangerous thing,” as the famous maxim goes. Over the years, I’ve observed malicious attacks on the Brébeuf Catholic Hymnal. Rather than scoring a ‘hit’ on the Brébeuf Hymnal, its attackers often reveal profound ignorance. I’ve been advised never to reply … but I break that rule today. Certain voices online assert that the Brébeuf Hymnal is “untraditional” because it includes both the Urbanite and pre-Urbanite versions of the hymns. But if only they would glance at a copy of the 1913 VESPERALE (printed by order of Pope Saint Pius X) they would see how mistaken such statements are.
    —Jeff Ostrowski
    New Bulletin Article • “8 June 2025”
    My pastor requested that I write short articles each week for the parish bulletin. Those responsible for preparing similar write-ups may find a bit of inspiration in these brief columns. The latest article includes a few anecdotes about Archbishop Fulton J. Sheen and Abraham Lincoln.
    —Jeff Ostrowski
    “Gloria in Spanish” • Free Accompaniment
    Several people have requested an organ accompaniment for the GLORY TO GOD which prints the Spanish words directly above the chords. The Spanish adaptation—Gloria a Dios en el cielo—as printed in Roman Misal, tercera edición was adapted from the “Glória in excélsis” from Mass XV (DOMINATOR DEUS). I used to feel that it’s a pretty boring chant … until I heard it sung well by a men’s Schola Cantorum, which changed my view dramatically. This morning, I created this harmonization and dedicated it to my colleague, Corrinne May. You may download it for free. Please let me know if you enjoy it!
    —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).
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    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
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    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

Ambrose and Prudentius took something classical and made it Christian; the revisers and their imitators took something Christian and tried to make it classical. The result may be pedantry, and sometimes perhaps poetry; but it is not piety. “Accessit Latinitas, discessit pietas.”

— Fr. Joseph Connelly (1954)

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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.