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Corpus Christi Watershed

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

Dr. Tappan • Article Archive

Dr. Lucas Tappan is a conductor and organist whose specialty is working with children. He lives in Kansas with his wife and four children.—Read full biography (with photographs).

Dr. Lucas Tappan · October 10, 2017

The Problem of Acedia

We rarely speak of greatness in the Church anymore for fear of driving people away, yet look at all of the men who responded to the call of the priesthood because of the example of Pope St. John Paul II.

Dr. Lucas Tappan · October 3, 2017

A Silver Jubilee

Many things have changed over the last quarter of a century in the field of church music and thankfully most of them have been for the better.

Dr. Lucas Tappan · September 26, 2017

Liturgical Education

Perhaps I am just a Benedictine at heart but I feel the *Opus Dei* (Work of God) must truly be given pride of place in our personal lives…

Dr. Lucas Tappan · June 13, 2017

Forming the Next Generation of Church Musicians

Until we start forming our youth in the Church’s treasury of sacred music we will continue contracepting our musical future to death.

Dr. Lucas Tappan · June 6, 2017

Scientia Linguæ Latinæ Voluptatem Et Gaudium Affert!

Unfortunately my avocation of church musician doesn’t allow me to sidestep the Latin vs. vernacular issue any more than a house painter is able to avoid paint.

Dr. Lucas Tappan · May 23, 2017

An Unpleasant Task

I realize it is hard, but perhaps this is the balance we are called to live—truth in charity.

Dr. Lucas Tappan · May 16, 2017

Recruiting and Auditioning Choristers

The audition itself is very straight forward and usually takes about 10 minutes, although I know within the first minute if I plan to accept the child into the choir.

Dr. Lucas Tappan · May 12, 2017

Ten “Ave Maria” Settings from Different Lands

Live recordings—music in honor of Our Lady of Fatima.

Dr. Lucas Tappan · May 2, 2017

A Picture is Worth a Thousand Words

If the Holy Mass really is the unbloody sacrifice of the Body and Blood, Soul and Divinity of Christ, then the music we use will be radically affected.

Dr. Lucas Tappan · April 26, 2017

Take 2 Voice Lessons and Call Me in the Morning

I watched in fascination as one of the tenors strained to reach notes obviously out of his range. I had never heard the chest voice *forced* so high in the male register.

Dr. Lucas Tappan · April 18, 2017

Chorister Training • Regensburg Cathedral Choir School

Here we see the result of so much hard work, one of the great Cathedral Choirs of the world!

Dr. Lucas Tappan · April 4, 2017

Family Life and the Sacred Liturgy

I can’t imagine my family playing such an intimate role in the ceremonies of Holy Week, but it surely made an awesome impression on the von Trapps.

Dr. Lucas Tappan · March 28, 2017

The Fully Sung Mass

if St. Augustine was right and “singing belongs to the one who loves,” then it behooves us to once again learn to love and thereby take up the Church’s eternal hymn of praise.

Dr. Lucas Tappan · March 15, 2017

Do we need hymns, when we already have Psalms?

The Psalter, as Esolen notes, is the prayer book of the Church and the Psalms constitute the “foundational poems of Christian praise.”

Dr. Lucas Tappan · March 7, 2017

Let Everything That Hath Breath Praise the Lord!

Point us once again to God Who is Beauty Itself!

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Corpus Christi Watershed

President’s Corner

    Why A “Fugue” Here?
    I believe I know why this plainsong harmonizer created a tiny fugue as the INTRODUCTION to his accompaniment. Take a look (PDF) and tell me your thoughts about what he did on the feast of the Flight of Our Lord Jesus Christ into Egypt (17 February). And now I must go because “tempus fugit” as they say!
    —Jeff Ostrowski
    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

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

No concession should ever be made for the singing of the Exsultet, in whole or in part, in the vernacular.

— ‘Fr. Augustin Bea, S.J. in the years immediately before the Second Vatican Council’

Recent Posts

  • Why A “Fugue” Here?
  • “Three Reasons To Shun Bad Hymns” • Daniel B. Marshall
  • “Puzzling Comment” • By A Respected FSSP Priest
  • New Bulletin Article • “12 October 2025”
  • “Reminder” — Month of October (2025)

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