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Views from the Choir Loft

Dr. Charles Weaver • Article Archive

Dr. Charles Weaver is on the faculty of the Juilliard School, and serves as organist and director of music at St. Mary’s Church in Norwalk, Connecticut. His research interests include the history of music theory and the theory of plainchant rhythm. He lives in Connecticut with his wife and four children.—Read full biography (with photographs).

Dr. Charles Weaver · March 7, 2023

Beauty Ever Ancient, Ever New

Every Gregorian melody is a precious gift, and every time we meet a melody again, we have a chance to consider some new aspect.

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Dr. Charles Weaver · February 27, 2023

An Interview on Mocquereau’s Method

I recently appeared on Square Notes, the Sacred Music Podcast to discuss some of the basics of Dom Mocquereau’s system of Gregorian rhythm. It’s impossible to give a full treatment to such a complex topic in a mere forty minutes, but I touched on a lot of the foundational ideas, with especial emphasis on the […]

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Dr. Charles Weaver · January 26, 2023

What is the Tonic Accent?

We should define our terms. What makes a syllable accented, and what makes an accent a tonic accent?

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Dr. Charles Weaver · December 8, 2022

Gregorian Rhythm Wars • “The Limits of History”

There’s nothing necessarily authentic about the “authentic” rhythm.

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Dr. Charles Weaver · November 26, 2022

Gregorian Rhythm Wars • “On the Nuance Theory of Plainchant”

A brief historical survey of free rhythm in plainchant, as practiced from the modern monastic foundation of Solesmes (1833) to the present.

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Dr. Charles Weaver · November 16, 2022

Gregorian Rhythm Wars • “Disputed Questions” (16 Nov 2022)

A few further thoughts on what ways of singing chant are “allowed.”

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Dr. Charles Weaver · November 13, 2022

Gregorian Rhythm Wars • “Charlie’s First Response to Jeff” (13 Nov 2022)

Ostrowski, wishing to avoid fussiness, may justifiably refuse this invitation. But to argue, as he has, that these signs and the prayerful and aesthetic movements they embody are “illicit” is just wildly off the mark.

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Dr. Charles Weaver · October 23, 2022

An Upcoming Concert in NYC

Announcing a concert next Saturday in honor of Christ the King.

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Dr. Charles Weaver · October 9, 2022

The Solesmes Episema and Contemplation

Are we even singing the Solesmes rhythm at all?

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Dr. Charles Weaver · September 29, 2022

Solmization from the Inside: Part 2

What can medieval and renaissance music pedagogy offer to us now?

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Dr. Charles Weaver · September 12, 2022

Pre-Reformation Polyphony among the Recusants

What happened to all that polyphony once Catholicism became illegal?

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Dr. Charles Weaver · August 26, 2022

PDF Download • Mocquereau on Trochee Trouble

This can seem like a dry topic, but it actually often deals with practical issues faced by every choirmaster who wants to promote plainchant.

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Dr. Charles Weaver · July 23, 2022

Pothier Teaches Us to Sing an Antiphon

A look at Dom Pothier’s performance instructions for a communion antiphon reveals a great deal of complexity in this pre-Mocquereau interpretive approach.

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Dr. Charles Weaver · May 26, 2022

Summer Courses in Sacred Music in New York

This summer, there are several interesting graduate-level courses on offer at St. Joseph’s Seminary in New York.

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Dr. Charles Weaver · May 7, 2022

A Curious Rhythmic Detail in Tomorrow’s Jubilus

Occasionally the Solesmes rhythmic markings are surprising, as in one of tomorrow’s alleluias. Can we make sense of this?

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Corpus Christi Watershed

President’s Corner

    Music List • “Ascension of the Lord”

    Readers have expressed interest in examining my “music list” for this coming Sunday.

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    —Jeff Ostrowski
    PDF Download • “For Pentecost Sunday”

    There’s a triple ‘allelúja’ and I just love the chord at the end of the 2nd iteration.

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    —Jeff Ostrowski
    PDF Download • “Organ Accompaniment”

    The following declaration will probably smack of “blowing my own horn.”

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    —Jeff Ostrowski

Quick Thoughts

    “Thee” + “Thou” + “Thine”
    Few musicians realize that various English translations of Sacred Scripture were granted formal approval by the USCCB and the Vatican for liturgical use in the United States of America. But don’t take my word for it! Here are four documents proving this, which you can examine with your own eyes. Some believe the words “Thine” and “Thou” and “Thee” were forbidden after Vatican II—but that’s incorrect. For example, they’re found in the English translation of the ‘Our Father’ at Mass. Moreover, the Revised Standard Version (Catholic Edition) mentioned in those four documents employs “Thine” and “Thou” and “Thee.” It was published with a FOREWORD by Westminster’s Roman Catholic Archbishop (John Cardinal Heenan).
    —Jeff Ostrowski
    “Reminder” — Month of May (2026)
    On a daily basis, I speak to people who don’t realize we publish a free newsletter (although they’ve followed our blog for years). We have no endowment, no major donors, no savings, and refuse to run annoying ads. As a result, our mailing list is crucial to our survival. It couldn’t be easier to subscribe! Just scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski
    Simplified Version • “Canon in D” (Pachelbel)
    I published an article on 11 November 2023 called Wedding March For The Lazy Organist, which rather offhandedly made reference to a simplified version I created in 2007 for Pachelbel’s Canon. I often use it as a PROCESSIONAL for weddings and quinceañeras. Many organists say they “hate” Pachelbel’s Canon. But I love it. I think it’s bright and beautiful. I created that ‘simplified version’ for musicians coming to grips with playing the pipe organ. It can be downloaded as a free PDF if you visit Andrea Leal’s article dated 15 August 2022: Manuals Only: Organ Interludes Based on Plainsong. Specifically, it is page 84 in that collection—generously offered as a free PDF download. Johann Pachelbel (d. 1706) was a renowned German organist, violinist, teacher, and composer of over 500 works. A friend of Bach’s family, he taught Johann Christoph Bach (Sebastian Bach’s eldest brother) and lived in his house. Those who read Pachelbel’s biography will notice his connection to two German cities adopted as famous hymn tune names: EISENACH and ERFURT.
    —Jeff Ostrowski

Random Quote

“Edwin Fischer was, on the concert platform, a short, leonine, resilient figure, whose every fibre seemed to vibrate with elemental musical power.”

— Daniel Barenboim (1960)

Recent Posts

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  • PDF Download • Accompaniment Edition (183 pages) — “Jesuit Hymnal” (Buffalo, New York)

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