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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

Composition with Pencil & Paper or Computer Software?

Fr. David Friel · June 25, 2017

HIS PAST week, which I spent in St, Paul, MN attending the annual CMAA Sacred Music Colloquium, was filled with many blessings. It was a week replete with academic keynotes to stimulate the mind, friendly conversations to strengthen the heart, and beautiful liturgies to move the soul.

Over lunch one day, I had a wonderful discussion with two other participants on the topic of music composition. Both of these musicians have degrees in composition, and one works actively as a full-time composer. So I took the opportunity to ask two questions that seemed worthwhile, even though I was fairly sure I knew the answers.

First, I asked if they compose using pencil and paper or a computer program. Predictably, they both said pencil and paper.

Second, I asked if they compose at a desk or at a keyboard. As you might expect, both said at their desks.

The discussion continued by observing how much the art of composition has changed in recent centuries. One of my lunchmates pointed out that the advent of computer software is perhaps not the biggest change composition has undergone since the medieval period. Arguably more significant is the adoption of the modern score. We are accustomed, in our time, to seeing full scores written out that include all vocal lines and instrumentation written out in measures that align vertically on the page. Until the 17th century or so, though, manuscripts were not written in this way. Compositions were, instead, written out for each individual part in separate “part books.”

This latter method is how such musicians as the 16th-century Palestrina would have composed. Can we even imagine the mental acumen that this style of composition necessitates? The sharpness of memory and breadth of vision this requires is certainly more demanding than what is required when composing in the fashion of a modern score. The effect of this practice upon the composer was undoubtedly a vivid appreciation for each musical line as a beautiful, integral whole.

Still more, it is worth considering that composers like Palestrina did not have CD collections or iTunes accounts. All their experiences of hearing sacred music, rather, were live performances. How different this is from our digital age, in which most musicians (and people generally) are inundated with recorded music.

Speaking of composition, one of my favorite parts of the colloquium each year is the new music breakout group. The idea is that composers (who range from hacks like me to rather polished artists) bring new pieces they are working on to be read through by the group, which usually includes 8 or 10 people. After sight-singing each piece, the members of the group offer feedback to each other. The composers use these constructive critiques to revise their manuscripts throughout the week, so that by the final day of the breakout, their work is either finished or at least improved. The final session is opened to all colloquium participants so that they can see and sing the revised compositions.

The annual Sacred Music Colloquium is a great opportunity to learn more about chant, polyphony, conducting, organ playing, etc. It is also a phenomenal venue for networking with other music directors, choir members, organists, clergy, etc. The colloquium draws together a wide array of people who love sacred music, and it has been known to forge new friendships.

Next year’s colloquium will be held at Loyola University in Chicago from June 25-30, 2018. If you have never attended a colloquium—or if you haven’t attended one in a while—plan ahead for next year.

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

Filed Under: Articles Tagged With: Church Music Association of America CMAA, Sacred Music Colloquium Last Updated: January 1, 2020

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About Fr. David Friel

Ordained in 2011, Father Friel is a priest of the Archdiocese of Philadelphia and serves as Director of Liturgy at Saint Charles Borromeo Seminary. —(Read full biography).

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Corpus Christi Watershed

President’s Corner

    Using “Ye” Vs. “You” Correctly
    Using “Ye” vs. “You” is rather tricky, because it depends upon which era one is trying to recreate—if that makes any sense. In other words, the rules haven’t always been the same for these two. Nevertheless, Father Philip George Caraman (the legendary Jesuit scholar) gives us a masterclass using Saint Luke’s Gospel. Father Caraman was close friends with Monsignor Ronald Knox, Evelyn Waugh, and Sir Alec Guinness.
    —Jeff Ostrowski
    “Pope Leo XIV Has Announced…”
    My pastor asked me to write brief 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 most recent article speaks about the recent announcement by Pope Leo XIV, which does have an impact on church musicians. Scheduled for publication on 2025 08 10th, it’s called: “Pope Leo XIV Has Announced…”
    —Jeff Ostrowski
    “Chants” • 18th Sunday in Ordinary Time
    All the chants for 3 August 2025—which is the 18th Sunday in Ordinary Time (Year C)—have been added to the feasts website, as usual under a convenient “drop down” menu. The COMMUNION ANTIPHON (from the book of Wisdom) is stunning. That feast website has been called “the best kept secret of Church music.”
    —Jeff Ostrowski

Quick Thoughts

    Pope Pius XII Hymnal?
    Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.
    —Corpus Christi Watershed
    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed
    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

Random Quote

The local church should be conscious that church worship is not really the same as what we sing in a bar, or what we sing in a convention for youth.

— Francis Cardinal Arinze (2005)

Recent Posts

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  • Installment #3 • “Serious Problems with the Lectionary Translation”
  • “Pope Leo XIV Has Announced…”
  • “Chants” • 18th Sunday in Ordinary Time
  • “Corn” From Heaven?

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