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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

Cub Scouts, Abel, and Liturgical Music

Andrew R. Motyka · March 20, 2013

s someone who works in the Office of Worship, I see a huge variety of opinion as to what music is appropriate for Mass. Part of my job as the Archdiocesan Director of Liturgical Music is to help in forming musicians, specifically music directors, for appropriate praise to God through song.

This is incredibly challenging. It may be difficult to believe, but we music directors can be pretty opinionated about our choices of music for the Mass (say it isn’t so!). Any opinion that doesn’t exactly mesh with what we are using on a given Sunday sounds like (or is taken as) a personal attack on musicianship, integrity, and holiness. Nevertheless, there must be some standard for the choice of music at Mass.

Our culture doesn’t help on this front. We have a difficult enough time dodging relativism in morality, never mind music. Since taste in music is subjective, many people simply throw up their hands and declare all discussion moot. How do we engage the Church musician who denies any concrete standard of music and liturgy? I offer this starting point:

Do your best.

That looks pretty trite, now that I read it. But what has long been the Cub Scout Motto has pretty far-reaching implications for any person of faith. In all things related to the worship of God, we should give our best. When selecting a piece for your choir, ask yourself, “Is this the best I can give to God?” Is your preparation for Mass the best you can give? If you continually give less than your full effort, less in quality than you know exists, there is a serious problem. If you cannot give such to the liturgy, the worship of God which is the source and summit of our lives, then your priorities need examination.

Abel knew this well. Abel offered the best of his flock to God, while his brother did not (Genesis 4:3-5). Which offering did God prefer? We need to give our very best in worship as well, even if we have to suffer for it, as Abel most certainly did.

Now, the average Church musician may not have the time, skill, or physical or financial resources to execute the same music as your diocesan cathedral, but that is no excuse not to give it the best you can. If we can agree on the Cub Scout Motto as a starting point in discussing musical preparation for Mass, a real discussion can blossom. Our discussion can move beyond musical relativism and become an exploration of what is good, what is the best.

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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President’s Corner

    2-Voice Arr. • “Creator of the Starry Height”
    Do you direct a choir consisting of women or children only? (Some call this a “treble” choir.) Download a two-voice arrangement of Creator of the Starry Height set to the tune of IOANNES by clicking here and then scrolling to the bottom. In our times, this hymn is normally used during ADVENT, and the Latin title is: Cónditor alme síderum. It’s important to say “cónditor”—placing the accent on the antepenult—because ‘condítor’ in Latin means “one who embalms the dead.”
    —Jeff Ostrowski
    “Equal Voices” Choir Pieces
    My colleague, CORRINNE MAY, has posted some delightful compositions for equal voices: that is, choirs consisting of all men or all women. Included there are settings of the “Ave Maria” and “Tantum Ergo.” They strike me as relatively simple and not excessively lengthy. (In other words, within reach of volunteer singers.) Even better, all the scores have been made available as instant PDF downloads, completely free of charge. Bravo!
    —Jeff Ostrowski
    Typo in the “Missale Romanum” (1962)
    The 1962 MISSALE ROMANUM was a transitional missal. It was on its way to becoming the 1970 version, but wasn’t there yet. It eliminated certain duplications, downplayed the Prayers at the Foot of the Altar, expanded the role of laymen, minimized the Last Gospel, made many items optional, and so forth. Father Valentine Young spotted many typos in the 1962 MISSALE ROMANUM, especially incorrect accents. The Offertory Antiphon for this coming Sunday (OF kalendar) contains an error, citing the wrong verse from Psalm 118. It should be 118:107b, not 118:154. If you read verse 154, you’ll understand how that error crept in. [In this particular case, the error pre-dates the 1962 Missal, since the 1940s hand-missal by Father Lasance also gets it wrong.]
    —Jeff Ostrowski

Quick Thoughts

    “Our Father” • Musical Setting?
    Looking through a Roman Catholic Hymnal published in 1859 by Father Guido Maria Dreves (d. 1909), I stumbled upon this very beautiful tune (PDF file). I feel it would be absolutely perfect to set the “Our Father” in German to music. Thoughts?
    —Jeff Ostrowski
    New Bulletin Article • “12 October 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 12 October 2025) talks about an ‘irony’ or ‘paradox’ regarding the 1960s switch to a wider use (amplior locus) of vernacular in the liturgy.
    —Jeff Ostrowski
    “American Catholic Hymnal” (1991)
    The American Catholic Hymnal, with IMPRIMATUR granted (25 April 1991) by the Archdiocese of Chicago, is like a compendium of every horrible idea from the 1980s. Imagine being forced to stand all through Communion (even afterwards) when those self-same ‘enlightened’ liturgists moved the SEQUENCE before the Alleluia to make sure congregations wouldn’t have to stand during it. (Even worse, everything about the SEQUENCE—including its name—means it should follow the Alleluia.) And imagine endlessly repeating “Alleluia” during Holy Communion at every single Mass. It was all part of an effort to convince people that Holy Communion was historically a procession (which it wasn’t).
    —Jeff Ostrowski

Random Quote

At the Catholic gathering (Katholikentag) held at Breslau in August, the Papal Nuncio celebrated Mass for 80,000 participants, facing the people (the “Missa versus populum”).

— “Orate Fratres” Magazine (23 Jan. 1927)

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