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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

Participating Actively despite all of that Active Participation

Andrew R. Motyka · April 10, 2013

t’s something I’ve confessed more than once: my failure to engage in what is happening during the Mass. Despite the fact that I am singing, playing the organ, or conducting for almost half of the Mass, I often completely fail to participate. How can this be? Isn’t this what is meant by the “active participation” that is one of the liturgical goals of the Second Vatican Council? Isn’t the involvement of the laity in the liturgy a success? Well, yes, but not necessarily in the way you think.

What am I doing here, if this is my internal monologue:

Downbeat tenors, sopranos on two. Basses next, followed by altos. Offbeat entrances by basses, then tenors, altos, sopranos. Don’t forget to crescendo across the stong beat…

Why, I’m conducting the first phrase of Giovanni Croce’s O Sacrum Convivium this coming Sunday, the Third Sunday of Easter.

Do you know what I’m not doing? Praying:

O Sacred Banquet in which Christ is received…

Sure, you might argue that I am praying this piece in a different way than the congregation is, but I am not engaging the music, and certainly not the action of the liturgy, in the same way that the non-singer or non-director is. I’m working right now.

And that’s fine. We all have our jobs and our roles in liturgy. However, I’m a Catholic, too, and should be actively participating in the liturgy (there’s that phrase again). I should be praying. The question here is, “How do we engage the liturgy prayerfully when we’re busy doing all of the ‘things’ that need our attention?”

It isn’t easy. There are a few tips I’ve figured out over the years, but I can’t say I’ve mastered them. Here are some starting points, though:

1. Prepare for the liturgy.

Oh, why didn’t you say so? Here I’ve been just showing up and doing it all this time. Actually, what I mean is to take care of all of the mundane “extras” before the Mass begins. I make a binder that has every piece of my music in it, in order, so I don’t have to “fish” for a single thing once the Mass begins. This includes all of the hymns, ordinaries, choir pieces, and even organ interludes. Don’t leave anything to chance; the fewer non-liturgical concerns you have during Mass, the better.

2. Prepare for the liturgy.

If I have to focus on every single cue, on every fingering passage, or on every entrance, I’ve lost the battle for liturgical focus before I’ve even begun. These things need to be worked out long before the bells ring to begin the Mass. I strongly recommend using an old musician’s trick, which consists of studying and repeating the planned music several times before executing it live. Sometimes we call this trick “practice.”

3. Prepare for the liturgy.

Seeing a trend here? The reality is that none of us is ever really perfectly disposed for prayer. We get distracted by all sorts of things (You think I have it bad? Ask my wife, who watches my two children, ages 4 and 5, during Mass. She’s my heroine). Take a minute before Mass and pray to the Holy Spirit that you be focused on the prayers of the Mass. Ready yourself spiritually to engage in the mysteries before you begin. This puts you in the proper disposition prior to the first downbeat.

So how do you actively participate despite all of that participation? Focus yourself during the non-musical moments. Don’t look for the next piece of music. Don’t micro-manage your choir regarding the next entrance. You’ve done the preparation. Now pray: there’s a miracle going on up there on the altar, and you don’t want to miss it.

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 R. Motyka

Andrew Motyka is the Archdiocesan Director of Liturgical Music and Cathedral Music for the Archdiocese of Indianapolis.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    Music List • (Palm Sunday, 2026)
    Readers have expressed interest in seeing the ORDER OF MUSIC I created for Palm Sunday—a.k.a. “Dominica in palmis de Passione Domini”—which is 29 March 2026. Please feel free to download it as a PDF file if such a thing interests you. The OFFERTORY (Impropérium exspectávit cor meum) is quite moving. Even though the COMMUNION ANTIPHON is relatively simple, the Fauxbourdon makes it sound outstanding.
    —Jeff Ostrowski
    Easter • Would You Sing This Hymn?
    He who examines Laudes Dei: a hymnal for Catholic congregations (St. Louis, 1894) will discover this pairing of a hymn for Easter. For the record, this isn’t the only Catholic hymn book to marry that text and melody; e.g. Saint Mark’s Hymnal for Use in the Roman Catholic Church in the United States (Peoria, 1910) does the same thing. Sometimes an unexpected pairing—chosen with sensitivity—can be superb, forcing singers to experience the text in a ‘fresh’ and wonderful way. On the other hand, we sometimes encounter something I’ve called “PERNICIOUS HYMN PAIRINGS.” If you find the subject in intriguing, feel free to peruse an article I published in May of 2023. As always, my email inbox is open if you have a bone to pick with my take.
    —Jeff Ostrowski
    Pipe Organ “Answers” in Plainsong?
    In 2003, I copied a book by Félix Bélédin (d. 1895), who was titular organist—from 1841 to 1874—at the Cathedral of Saint John the Baptist in Lyon (France). In 2008, we scanned and uploaded the book to the Lalande Online Library. Nobody knows for sure when the book was published; some believe it first appeared in the 1840s. In any event, one who examines this excerpt, showing GLORIA IX might wonder why it says the organ answers in plainsong. However, the front of the book explains, telling the organist explicitly when to “respond in plainchant.” This is something called organ alternatim. Believe it or not, the pipe organ would take turns with the choir, playing certain texts instrumentally instead of having them sung. I’m not very well-versed in this—pardon the pun—but if memory serves, ORGAN ALTERNATIM was frowned upon by the time of Pope Saint Pius X. Nevertheless, French organists kept doing it, even after it was explicitly condemned as an abuse.
    —Jeff Ostrowski

Quick Thoughts

    “Gregorian Chant Quiz” • 24 March 2026
    How well do you know your Gregorian hymns? Do you recognize the tune inserted into the bass line on this score? For many years, we sang the entire Mass in Gregorian chant—and I mean everything. As a result, it would be difficult to find a Gregorian hymn I don’t recognize instantly. Only decades later did I realize (with sadness) that this skill cannot be ‘monetized’… This particular melody is used for a very famous Gregorian hymn, printed in the LIBER USUALIS. Do you recognize it? Send me an email with the correct words, and I promise to tell everybody I meet about your prowess!
    —Jeff Ostrowski
    PDF Download • “Ubi Caritas” (SATB)
    I remember singing “Ubi Cáritas” by Maurice Duruflé at the conservatory. I was deeply moved by it. However, some feel Duruflé’s version isn’t suitable for small choirs since it’s written for 6 voices and the bass tessitura is quite low. That’s why I was absolutely thrilled to discover this “Ubi cáritas” (SATB) for smaller choirs by Énemond Moreau, who studied with OSCAR DEPUYDT (d. 1925), an orphan who became a towering figure of Catholic music. Depuydt’s students include: Flor Peeters (d. 1986); Monsignor Jules Van Nuffel (d. 1953); Arthur Meulemans (d. 1966); Monsignor Jules Vyverman (d. 1989); and Gustaaf Nees (d. 1965). Rehearsal videos for each individual voice await you at #19705. When I came across the astonishing English translation for “Ubi Cáritas” by Monsignor Ronald Knox—matching the Latin’s meter—I decided to add those lyrics as an option (for churches which have banned Latin). My wife and I made this recording to give you some idea how it sounds.
    —Jeff Ostrowski
    PDF Download • “Holy, Holy, Holy”
    For vigil Masses on Saturday (a.k.a. “anticipated” Masses) we use this simpler setting of the “Holy, Holy, Holy” by Monsignor Jules Vyverman (d. 1989), a Belgian priest, organist, composer, and music educator who ultimately succeeded another ‘Jules’ (CANON JULES VAN NUFFEL) as director of the Lemmensinstituut in Belgium. Although I could be wrong, my understanding is that the LEMMENSINSTITUUT eventually merged with “Catholic University of Leuven” (originally founded in 1425). That’s the university Fulton J. Sheen attended.
    —Jeff Ostrowski

Random Quote

“The chapter orders that only grandees (and their immediate relatives), counts, marquises, and provincial governors may in future enter the choir enclosure during divine service: such a restriction being imposed so that quiet can be the better maintained during cathedral solemnities.” [From “The Life of Father Francisco Guerrero.”]

— Sevilla: Chapter Resolution (25 May 1558)

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  • Easter • Would You Sing This Hymn?
  • “Priest Saying Mass” • Medieval Illumination
  • From Sentiment to Sacrament: Reclaiming Sacred Music for the Wedding Mass

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