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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

Why We Do What We Do

Richard J. Clark · December 27, 2013

RJC_913_St_John_Apostle_Evangelist St. John the Evangelist, Francesco Furini HAVE PRECIOUS FEW ORIGINAL IDEAS. Today is no exception, drawing in part from a friend’s note and from Andrew Motyka’s post It’s What We Do.

As we wind down from Christmas Eve and Day (only to wind back up again for the glorious Christmas Season) church musicians might ask themselves, why in the world do we do this? What effect do we have on anyone, especially those who only go to mass two or three times per year?

I assure you, plenty. On this Feast of Saint John, Apostle and Evangelist, it is good to reflect upon our calling as ministers of sacred music. As Andrew Motyka states, what we do is “an act of mercy, and as such, my duty as a Christian.”

Beyond making music that is pleasing to the ears, music ministers are called to serve our communities by fostering prayer. In service of the liturgy, sacred music is not simply for ephemeral pleasure (although one hopes it is pleasing!), but more importantly for transformative healing and growth that is enduring. This holds true individually and for the community. This is our hope. This is our call.

I often remind my choirs that they will affect people spiritually in ways that they will never know. While we are fulfilling our duty and our calling, we can assume very little about those around us, even those we think we know pretty well (or those we have judged.) Take time to listen to those around you, and you will be astounded to learn the crosses they may be carrying.

UST AS I HAD BEGUN WRITING this, I received in rather surreal fashion a note from my recording engineer, Evan, that stopped me in my tracks. The subject of his email read: “Why we do what we do.” (Was he reading my mind?) Regarding a collaboration with The Copley Singers and the St. Cecilia Choir in the wake of the tragic Boston Marathon bombing, Evan wrote:

“…my best friend Michael is a seminarian in the Archdiocese of Hartford, and was just ordained a deacon this month. He was assigned to a parish in Litchfield county over the summer, and became close friends with a priest there, who was suffering from leukemia. Michael told me last night that he played for this priest his copy of the Darkness to Light recording we made this spring. The priest would listen to this heavenly music over and over, crying while listening to it. He was brought great comfort through the ministry of this music. He passed away earlier this fall…

“… beyond the funds that were raised for the Boston bombing victims…It brings me great joy to know that a project I took part in has affected the life of another person, especially that of a dying man…”

This is one story we learned about many months after the fact. How about the countless stories we never hear? Sometimes we learn of one story only to remind us this is why we do what we do.

O WHEN WE ENTER THE DOORS of our churches, one never knows what pain, suffering, grief or burdens those among us carry. This is the beauty and the gift of community. When we are unable to pray—when we are distracted, or burdened, or overcome with grief—the community carries us along; the community buoys our spirit and sustains us; the community prays on our behalf. Our voices raised in prayer each week can provide comfort and solace to our brothers and sisters in need. Our very presence at liturgy, along with our spoken and sung prayer, have untold effects on others and can act as a lifeline in ways which we will never know.

“A cry from deep within our being, music is a way for God to lead us to the realm of higher things.” — St. Augustine, Epistoia 166, De origine animae hominis

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 Richard J. Clark

Richard J. Clark is the Director of Music of the Archdiocese of Boston and the Cathedral of the Holy Cross.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    PDF Download • “For Pentecost Sunday”
    Yesterday morning, I recorded myself singing the ENTRANCE CHANT for Pentecost Sunday while simultaneously accompanying myself on the pipe organ. Click here to see how that came out. At the end of the antiphon, there’s a triple Allelúja and I just love the chord at the end of the 2nd iteration. The organ accompaniment—along with the musical score for singers—can be downloaded free of charge at the flourishing feasts website. For the record, the antiphon on Pentecost Sunday doesn’t come from a psalm; it comes from the book of Wisdom.
    —Jeff Ostrowski
    PDF Download • “Organ Accompaniment”
    Over the past few years, I’ve been harmonizing all the vernacular plainsong Introit settings by the CHAUMONOT COMPOSERS GROUP. This coming Sunday—10 May 2026—is the 6th Sunday of Easter (Year A). The following declaration will probably smack of “blowing my own horn.” However, I’d rank this accompaniment as my best yet. In this rehearsal video, I attempt to sing it while simultaneously accompanying myself on the pipe organ. The musical score [for singers] as well as my organ accompaniment can be downloaded free of charge from the flourishing feasts website.
    —Jeff Ostrowski
    “Gregorian Chant Quiz” • 4 May 2026
    A few days ago, the CORPUS CHRISTI WATERSHED Facebook page posted this Gregorian Chant quiz regarding a rubric for the SEQUENCE for the feast of Corpus Christi: “Lauda Sion Salvatórem.” There is no audience more intelligent than ours—yet surprisingly nobody has been able to guess the rubric. Drop me an email with the right answer, and I’ll affirm your brilliance to everyone I encounter!
    —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

When the matter is thus regarded, an assertion which is being made today, not only by laymen but also at times by certain theologians and priests and spread about by them, ought to be rejected as an erroneous opinion: namely, that the offering of one Mass, at which a hundred priests assist with religious devotion, is the same as a hundred Masses celebrated by a hundred priests. That is not true.

— Pope Pius XII (2 November 1954)

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