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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

Begin From the Beginning—Interesting Things Will Happen

Richard J. Clark · June 28, 2013

EFORE ONE CAN EVEN BEGIN talking about music in the liturgy, one must understand something about the Sacred Liturgy itself. No conversation about liturgical music based on personal taste can yield much fruit without fundamental understanding of the purpose of the mass.

In his 1903 Motu Proprio, Tra le Sollecitudini (“Instruction on Sacred Music”) Pope Saint Pius X begins his “instruction” as he describes the overall purpose of the liturgy as “the glory of God and the sanctification, the edification of the faithful.”

Sacrosanctum Concilium echoes this statement in The Nature of the Sacred Liturgy and Its Importance in the Church’s Life: (§7) “Christ indeed always associates the Church with Himself in this great work wherein God is perfectly glorified and men are sanctified.”

Further echoing Saint Pius X: “For His humanity, united with the person of the Word, was in the instrument of our salvation…The wondrous redemption of the whole Church.” (Sacrosanctum Concillium, §5)

That the singularly most important purpose of the mass is to glorify God seems like something we could not possibly forget, yet it happens and sometimes quite frequently. It is easy to become too mindful of ourselves and of our own problems, or of our own importance in context of the liturgy. God already knows our most inner thoughts and needs, and certainly we must bring our prayers and petitions to God. But preoccupied self-absorption or self-importance (I am very guilty of this more than just occasionally!) distorts the nature of the Sacred Liturgy. Quite happily, focus on God alone points to the second part of Saint Pius X’s statement: “the edification and sanctification of the people.” God finds us and gives us the grace we need despite our sins and flaws.

Giving glory to God alone leads to our sanctification and edification! Singing God’s praises is necessary for personal and communal sanctification and edification.

Therefore, as a community joins together to praise God, something quite interesting happens: not only do individuals grow in faith, but also the community unifies and intensifies with greater strength than ever. In a sense, the “vertical” strengthens the “horizontal”. Ultimately, the goal of the community and of the whole Church is Christ-like living: Lex orandi, lex credendi, lex Vivendi – the law of prayer is the law of belief, which points to the law of how Christians must live. More simply put, the liturgy reminds us if we truly believe what we pray, we must respond to God’s call by that way that we live.

NOTHER IMPORTANT QUESTION about the liturgy was posed by Bishop Sample at the CMAA Sacred Music Colloquium. While the mass is a celebration, perhaps we must ask what it is we are celebrating. Is it a party? Is it a shared communal meal? Is it self-affirmation? These are not necessarily bad things, and in fact they can be quite good and helpful in the right context. But during the liturgy they distort what is essential for our souls: Jesus who died for us redeems us by His Body and Blood. We are a saved people! (This is why we celebrate Easter for 50 days after a Lenten preparation of 40 days.) That we are saved is all quite remarkable and joyful.

But our redemption is not possible without the Sacrifice of our Savior. We cannot sidestep nor gloss over the Sacrifice. Without Good Friday, there is no Easter Sunday. Without the dying, there is no rising. God alone is the center of our prayer. From this, flows our redemption.

Sacrosanctum Concillium (§5) furthermore states under The Nature of the Sacred Liturgy and Its Importance in the Church’s Life, “For His humanity, united with the person of the Word, was in the instrument of our salvation…The wondrous redemption of the whole Church.”

OK, we may know all of this already. But it is remarkable that we may joyfully embrace in our hearts our redemption through Christ’s Sacrifice. This is what we celebrate every Sunday and every day at every mass! In the words of the anamnesis: “Save us, Savior of the world, that by your cross and Resurrection, you have set us free.”

Sacrosanctum Concillium (§2): “For the liturgy, ‘through which the work of our redemption is accomplished.’ (Secret of the ninth Sunday after Pentecost) most of all in the divine sacrifice of the Eucharist, is the outstanding means by whereby the faithful may express in their lives, and manifest to others, the mystery of Christ and the real nature of the true Church.”

As we are united in the Eucharist, in Christ’s loving act of self-sacrifice is this not worthy of joyful praise of God and God alone?

I have not even begun to speak of music at liturgy, music worthy of praising the God who loves us to the point of death on a cross. Where will this understanding lead us in our sacred music? Interesting things happen in our lives when we worship God.

So, perhaps this discussion on music for the Sacred Liturgy must begin from the beginning:
Soli Deo Gloria! Give glory to God alone!

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 • Dom Murray Harmonies
    Along with so many others, I have deep respect for Dom Gregory Gregory Murray, who produced this clever harmonization (PDF) of “O SANCTISSIMA.” It’s always amazed me that Dom Gregory—a truly inspired composer—was so confused when it came to GREGORIAN CHANT. Throughout his life, he published contradictory statements, veering back-and-forth like a weather vane. Toward the end of his life, he declared: “I see clearly that the need for reform in liturgical music arose, not in the 18th and 19th centuries, but a thousand years earlier—in the 8th and 9th centuries, or even before that. The abuses began, not with Mozart and Haydn, but with those over-enthusiastic medieval musicians who developed the elaborate and flamboyant Gregorian Chant.”
    —Jeff Ostrowski
    “Music List” • 14 September (Holy Cross)
    Readers have expressed interest in perusing the ORDER OF MUSIC I prepared for 14 September 2025, which is the Feast of Exaltation of the Holy Cross. If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are conveniently stored at the spectacular feasts website alongside the official texts in Latin.
    —Jeff Ostrowski
    New Bulletin Article • “14 September 2025”
    My pastor requested that I write short 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 latest article (dated 14 September 2025) discusses OFFERTORY ANTIPHONS and contains a wonderful quote by Archbishop Fulton J. Sheen.
    —Jeff Ostrowski

Quick Thoughts

    Karl Keating • “Canonization Questions”
    We were sent an internet statement (screenshot) that’s garnered significant attention, in which KARL KEATING (founder of Catholic Answers) speaks about whether canonizations are infallible. Mr. Keating seems unaware that canonizations are—in the final analysis—a theological opinion. They are not infallible, as explained in this 2014 article by a priest (with a doctorate in theology) who worked for multiple popes. Mr. Keating says: “I’m unaware of such claims arising from any quarter until several recent popes disliked by these Traditionalists were canonized, including John XXIII, Paul VI, and John Paul II. Usually Paul VI receives the most opprobrium.” Mr. Keating is incorrect; e.g. Father John Vianney, several centuries ago, taught clearly that canonizations are not infallible. Archbishop Fulton J. Sheen would be another example, although clearly much more recent than Saint John Vianney.
    —Corpus Christi Watershed
    Vatican II Changed Wedding Propers?
    It’s often claimed that the wedding propers were changed after Vatican II. As a matter of fact, that is a false claim. The EDITIO VATICANA propers (Introit: Deus Israel) remained the same after Vatican II. However, a new set of propers (Introit: Ecce Deus) was provided for optional use. The same holds true for the feast of Pope Saint Gregory the Great on 3 September: the 1943 propers (Introit: Si díligis me) were provided for optional use, but the traditional PROPRIA MISSAE (Introit: Sacerdótes Dei) were retained; they weren’t gotten rid of. The Ordo Cantus Missae (1970) makes this crystal clear, as does the Missal itself. There was an effort made in the post-conciliar years to eliminate so-called “Neo-Gregorian” chants, but (contrary to popular belief) most were retained: cf. the feast of Christ the King, the feast of the Immaculate Conception, and so forth.
    —Corpus Christi Watershed
    Solemn “Salve Regina” (Chant)
    How many “S” words can you think of using alliteration? How about Schwann Solemn Salve Score? You can download the SOLEMN SALVE REGINA in Gregorian Chant. The notation follows the official rhythm (EDITIO VATICANA). Canon Jules Van Nuffel, choirmaster of the Cathedral of Saint Rumbold, composed this accompaniment for it (although some feel it isn’t his best work).
    —Corpus Christi Watershed

Random Quote

“Oh, the happy choir director who is hired to start work on a brand new choir, or who walks into his first rehearsal a total stranger to the existing group—what a fortunate man he is! The new choir director who is a former member of the choir, or a member of the congregation, or the nephew of the alto soloist, or a former altar boy, or otherwise well acquainted with the choir, is in for a few headaches.”

— Paul Hume (1956)

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