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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

Biography • Dr. Lucas Tappan

Dr. Lucas Tappan · December 21, 2012

UCAS TAPPAN is the Director of Liturgy and Music for Most Pure Heart of Mary Catholic Church in Topeka, KS, as well as the founder and director of the Most Pure Heart of Mary Schola Cantorum, an after-school choral foundation in the tradition of the EUROPEAN CATHEDRAL CHOIR SCHOOL. The Schola Cantorum serves more than 50 children from the parish and surrounding area, serving to pass on the Church’s great musical and liturgical heritage. Dr. Tappan graduated in 2004 from Benedictine College in Atchison, KS—where he studied organ under Fr. Blaine Schultz, OSB, and Dr. Ruth Krusemark—earning degrees in Music and Theology. He earned his Master of Music in Church Music (organ performance) in 2009 from the University of Kansas and in 2014 was granted a Doctorate of Musical Arts in Church Music (choral conducting) from the same institution. His teachers included Michael Bauer (organ), James Higdon (organ), and Paul Tucker (choral conducting).

*  DR. LUCAS TAPPAN • Publicity Photo (A)

*  DR. LUCAS TAPPAN • Publicity Photo (B)

In 2012, Dr. Tappan was privileged to spend six weeks observing the training of choristers at the Madeleine Choir School at the Cathedral of the Madeleine in Salt Lake City, Utah—an experience that has greatly shaped the way he trains choristers. The Gentlemen and Children of the MPHM Schola Cantorum released their first CD in November 2014, and in January of 2016 they traveled to Rome to sing at St. Peter’s Basilica—joining the Sistine Chapel Choir—alongside several other children’s choirs from the Americas and Europe for the first CHILDREN’S FESTIVAL FOR EPIPHANY, sponsored by the Fondazione Pro Musica e Arte Sacra.

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Each summer, Dr. Tappan returns to Benedictine College for two weeks to work with high school students in a program that allows them to study music alongside theology. Dr. Tappan lives in Kansas with his wife and four children, where he pursues a wide range of interests from all things German to playing the Scottish bagpipes. However, a number of years ago he and his wife purchased a 1936 colonial, and because the only thing that works in an old home is the owner, his free time is not as free as he would like. Dr. Tappan may be contacted at: theartofthechorister@gmail.com.

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

Filed Under: Articles, Biographies Last Updated: July 11, 2025

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About Dr. Lucas Tappan

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).

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Corpus Christi Watershed

President’s Corner

    New Bulletin Article • “21 September 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 21 September 2025) discusses some theological items—supported by certain verses in ancient Catholic hymns—and ends by explaining why certain folks become delirious with jealousy when they observe feats by Monsignor Ronald Knox.
    —Jeff Ostrowski
    Cheap! Cheap! Cheap!
    It’s always amusing to see old diocesan newspapers—in huge capital letters—advertising the Cheapest Catholic Paper in the United States. The correspondent who sent this to me added: “I can think of certain composers, published by large companies in our own day, who could truthfully brag about the most tawdry compositions in the world!” I wonder what she could have meant by such a cryptic comment…
    —Jeff Ostrowski
    PDF Download • Dom Murray Harmonies
    Along with so many others, I have deep respect for Dom Gregory Gregory Murray, who produced this clever harmonization (PDF) of “O SANCTISSIMA.” It’s always amazed me that Dom Gregory—a truly inspired composer—was so confused when it came to GREGORIAN CHANT. Throughout his life, he published contradictory statements, veering back-and-forth like a weather vane. Toward the end of his life, he declared: “I see clearly that the need for reform in liturgical music arose, not in the 18th and 19th centuries, but a thousand years earlier—in the 8th and 9th centuries, or even before that. The abuses began, not with Mozart and Haydn, but with those over-enthusiastic medieval musicians who developed the elaborate and flamboyant Gregorian Chant.”
    —Jeff Ostrowski

Quick Thoughts

    Karl Keating • “Canonization Questions”
    We were sent an internet statement (screenshot) that’s garnered significant attention, in which KARL KEATING (founder of Catholic Answers) speaks about whether canonizations are infallible. Mr. Keating seems unaware that canonizations are—in the final analysis—a theological opinion. They are not infallible, as explained in this 2014 article by a priest (with a doctorate in theology) who worked for multiple popes. Mr. Keating says: “I’m unaware of such claims arising from any quarter until several recent popes disliked by these Traditionalists were canonized, including John XXIII, Paul VI, and John Paul II. Usually Paul VI receives the most opprobrium.” Mr. Keating is incorrect; e.g. Father John Vianney, several centuries ago, taught clearly that canonizations are not infallible. Archbishop Fulton J. Sheen would be another example, although clearly much more recent than Saint John Vianney.
    —Corpus Christi Watershed
    Vatican II Changed Wedding Propers?
    It’s often claimed that the wedding propers were changed after Vatican II. As a matter of fact, that is a false claim. The EDITIO VATICANA propers (Introit: Deus Israel) remained the same after Vatican II. However, a new set of propers (Introit: Ecce Deus) was provided for optional use. The same holds true for the feast of Pope Saint Gregory the Great on 3 September: the 1943 propers (Introit: Si díligis me) were provided for optional use, but the traditional PROPRIA MISSAE (Introit: Sacerdótes Dei) were retained; they weren’t gotten rid of. The Ordo Cantus Missae (1970) makes this crystal clear, as does the Missal itself. There was an effort made in the post-conciliar years to eliminate so-called “Neo-Gregorian” chants, but (contrary to popular belief) most were retained: cf. the feast of Christ the King, the feast of the Immaculate Conception, and so forth.
    —Corpus Christi Watershed
    Solemn “Salve Regina” (Chant)
    How many “S” words can you think of using alliteration? How about Schwann Solemn Salve Score? You can download the SOLEMN SALVE REGINA in Gregorian Chant. The notation follows the official rhythm (EDITIO VATICANA). Canon Jules Van Nuffel, choirmaster of the Cathedral of Saint Rumbold, composed this accompaniment for it (although some feel it isn’t his best work).
    —Corpus Christi Watershed

Random Quote

“The liturgy needed reform by 1965; there was no call for dismantling it. It was intended that the vernacular would enhance the Latin, not supplant it. It was not, emphatically, the mind of the Council Fathers to jettison Gregorian Chant, or to encourage the banal secularization of Church music, so as now to surpass in crudity the worst aberrations of the Howling Pentecostals.”

— Most Rev’d Robert J. Dwyer, Archbishop of Portland (9 July 1971)

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