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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

“Toward a More Sacred Style With Pastoral Charity” • Guest Article by Dr. Myrna Keough

Guest Author · October 3, 2025

EVERAL YEARS AGO, when Archbishop Sample issued his letter “Sing to the Lord a New Song” on liturgical music, the reception was both mixed and pronounced; some felt affirmed, while others felt disappointed. Certain readers were unsettled by the directives—questioning why we should return to older practices—while others felt daunted, wondering how they could ever learn to sing Gregorian chant. Archbishop Sample, however, made his expectations clear: the diocese was to follow the teachings of the Second Vatican Council.

*  Register Today • For the Fall Semester
—Online seminars offered by the Sacred Music Institute of America.

A Story • Shortly after this letter arrived, I was at a parish choir rehearsal. For this rehearsal, I was simply the organist and not leading the choir or making any liturgical decisions. When the choir director announced that we would begin learning the entrance and communion antiphons in response to the Archbishop’s guidance, two members of the choir reacted with immediate hostility. They expressed anger over the perceived loss of their music, the assumption that we would be required to sing in Latin, and the fear that we were returning to pre-Conciliar practices. Their response was ironic, as we continued to sing both an entrance and communion hymn, and neither of the proper antiphons was in Latin. At least one member stormed out of the rehearsal after some very terse exchanges. This is just one of many stories I could share, and I suspect you may have similar ones of your own.

A Pastoral Approach • In my two decades of teaching in seminaries, I have consistently emphasized a pastoral approach to guiding music toward a more sacred character. Resistance is to be expected whenever liturgical changes occur—especially when music is involved—but these transitions can be navigated with pastoral sensitivity and charity. To learn more about this approach, I invite you to join the free seminar offered by the Sacred Music Institute of America at sacredmusicinstitute.org.

We hope you enjoyed reading this
guest article by Dr. Myrna Keough.

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

Filed Under: Articles Tagged With: Jason Keefer Sacred Music Institute Last Updated: October 7, 2025

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President’s Corner

    (Part 2) • Did they simplify this hymn?
    Choirs love to sing the resplendent tune called “INNSBRUCK.” Looking through a (Roman Catholic) German hymnal printed in 1929, I discovered what appears to be a simplified version of that hymn. Their harmonization is much less complex than the version found in the Father Brébeuf Hymnal (which is suitable for singing by SATB choir). Please download their 1929 harmonization (PDF) and let me know your thoughts. As always, the Germans added an organ INTRODUCTION. For the record, I posted a different harmonization a few months ago which was downloaded more than 2,000 times.
    —Jeff Ostrowski
    PDF • “Lectionary Comparison Chart”
    Various shell corporations (in an effort to make money selling Sacred Scripture) have tinkered with the LECTIONARY texts in a way that’s shameful. It’s no wonder Catholics in the pews know so few Bible passages by heart. Without authorization, these shell corporations pervert the official texts. Consider the Responsorial Psalm for the 1st Sunday of Advent (Year A). If you download this PDF comparison chart you’ll notice each country randomly omits certain sections. Such tinkering has gone on for 60+ years—and it’s reprehensible.
    —Corpus Christi Watershed
    Monsignor Klaus Gamber Speaks!
    An interesting quotation from the eminent liturgist, Monsignor Klaus Gamber (d. 1989): “According to canon law, a person’s affiliation with a particular liturgical rite is determined by that person’s rite of baptism. Given that the liturgical reforms of Pope Paul VI created a de facto new rite, one could assert that those among the faithful who were baptized according to the traditional Roman rite have the right to continue following that rite; just as priests who were ordained according to the traditional Ordo have the right to exercise the very rite that they were ordained to celebrate.”
    —Jeff Ostrowski

Quick Thoughts

    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
    “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 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

Random Quote

The ratio of voices in modern choirs is usually wrong. Basses should be numerically greatest, then altos, then tenors, then sopranos. One good soprano can carry a high “A” against 30 lower voices.

— Roger Wagner

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  • (Part 2) • Did they simplify this hymn?
  • PDF • “Lectionary Comparison Chart”

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