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Jesus said to them: “I have come into this world so that a sentence may fall upon it, that those who are blind should see, and those who see should become blind. If you were blind, you would not be guilty. It is because you protest, ‘We can see clearly,’ that you cannot be rid of your guilt.”

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Views from the Choir Loft

Summer Sacred Music Workshop — Report

Andrew Leung · August 18, 2015

CTL Workshop Report AST SATURDAY, I was presenting at the Summer Sacred Music Workshop in Jasper, Georgia. It was the first time I have ever present at a workshop and it was a very positive experience for me. I was blessed to be able to work with some wonderful faculty members: Fr. David Carter, Fr. Charles Byrd, Bridget Scott, Jonathan Eason, Maria Rist and Noel Jones. Many of our participants described the experience as joyful and peaceful. The turnout was really good, about 130 participants from 6 different states gathered at Our Lady of the Mountains Roman Catholic Church. I was very happy to see brothers and sisters from the Episcopal Church, Methodist Church and Presbyterian Church participating in the workshop.

Participants were introduced to the Ward’s Method during the workshop. They were split into 3 Chant Scholae and 2 Polyphony Choirs, where musical instructions were given. These groups also sang the Novus Ordo closing Mass. A keynote was delivered by Fr. David Carter, JCL, pastor and rector of the Basilica Sts. Peter and Paul in Chattanooga, Tennessee. His talk was entitled “Re-discovery of the Church’s Sacred Tradition: II Kings 22”. He has given us permission to share his talk in written format:

    * *  PDF • RE-DISCOVERY OF THE CHURCH’S SACRED TRADITION: II KINGS 22

In his talk, Fr. Carter compared his experience of discovering Sacred Music to King Josiah’s story. Through telling his story, he explained the theology of Sacred Music and the Church’s teachings on Liturgical Music. He also gave some practical suggestions on how to improve parish music programs towards the end of his talk. If you are interested in these suggestions, you can find them from page 12 onward in the PDF file. These suggestions are very helpful and I strongly recommend you to read them.

It is very touching to see so many people thirsting for true Sacred Music, the treasure of the Church. The Church is slowly rediscovering her Tradition. I pray that this workshop will bear much fruit.

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

Filed Under: Articles Last Updated: January 1, 2020

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About Andrew Leung

Andrew Leung currently serves the music director of Vox Antiqua, conductor of the Cecilian Singers, and music director at Our Lady of China Church.—(Read full biography).

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President’s Corner

    “Music List” • 5th Sunday of Easter (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 5th Sunday of Easter (18 May 2025). If such a thing interests you, feel free to download it as a PDF file. The Communion Antiphon was ‘restored’ the 1970 Missale Romanum (a.k.a. MISSALE RECENS) from an obscure martyr’s feast. Our choir is on break this Sunday, so the selections are relatively simple in nature.
    —Jeff Ostrowski
    Communion Chant (5th Sunday of Easter)
    This coming Sunday—18 May 2025—is the 5th Sunday of Easter, Year C (MISSALE RECENS). The COMMUNION ANTIPHON “Ego Sum Vitis Vera” assigned by the Church is rather interesting, because it comes from a rare martyr’s feast: viz. Saint Vitalis of Milan. It was never part of the EDITIO VATICANA, which is the still the Church’s official edition. As a result, the musical notation had to be printed in the Ordo Cantus Missae, which appeared in 1970.
    —Jeff Ostrowski
    “Music List” • 4th Sunday of Easter (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 4th Sunday of Easter (11 May 2025). If such a thing interests you, feel free to download it as a PDF file. I don’t know a more gorgeous ENTRANCE CHANT than the one given there: Misericórdia Dómini Plena Est Terra.
    —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).
    —Corpus Christi Watershed
    When to Sit, Stand and Kneel like it’s 1962
    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
    —Veronica Brandt
    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

“The argument moves from the existence of the thing to the correctness of the thing: what is, ought to be. Or, a popular variant: if a thing is, it doesn’t make any difference whether it ought to be—the correct response is to adjust, to learn to live with the thing.”

— ‘L. Brent Bozell, Jr.’

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