“Liber Usualis” • Jeff’s Proposed Modifications
In 1957, the Abbey of Solesmes publicly claimed copyright over “the rhythmic signs 𝗮𝗻𝗱 𝘁𝗵𝗲 𝗿𝗵𝘆𝘁𝗵𝗺 𝘁𝗵𝗲𝘆 𝗿𝗲𝗽𝗿𝗲𝘀𝗲𝗻𝘁.”
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.”

In 1957, the Abbey of Solesmes publicly claimed copyright over “the rhythmic signs 𝗮𝗻𝗱 𝘁𝗵𝗲 𝗿𝗵𝘆𝘁𝗵𝗺 𝘁𝗵𝗲𝘆 𝗿𝗲𝗽𝗿𝗲𝘀𝗲𝗻𝘁.”

Including several hymns eminently suitable for the feast of Christ the King.
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Will anyone step forward to defend this?

It’s been decided to bring that particular series to a close. However…

In praise of the Cardine approach to chanting, with some further thoughts on pluralism and correctness in performance practice.

This coming Sunday is the 17th Sunday after Pentecost (EF).

My goal is to clarify and illumine what I believe exactly is at stake when we debate the rhythm in chant. I shall first attempt to summarize the core arguments that each of the main authors in this blog series use.

Guest submission (1 September 2023) by Alasdair Codona of Glasgow, Scotland.

Including a scanned copy of a rare “Graduale” (Pustet, 1911) released a few minutes ago—for the first time in history!

Did you know that St. Augustine described the sound of one hand clapping?

Twenty years ago, I had the opportunity to conduct a week-long interview with Dom Cardine’s former boss.

“Nothing so arouses the soul, gives it wing, sets it free from the earth, releases it from the prison of the body, teaches it to love wisdom, and to condemn all the things of this life, as concordant melody and sacred song composed in rhythm.” —St. John Chrysostom
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