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Views from the Choir Loft

What Is a “Performance” in Liturgy?

Richard J. Clark · May 17, 2013

ERHAPS MOST MISUNDERSTOOD in liturgical music is the concept of “performance.” As musicians, most of us are involved in secular as well as sacred music. The concept of “performing” is the natural conclusion of our work. Yet, in liturgy, it is not. There is understandable tension in what is so natural in one environment and what is unacceptable in another.

So, what is a performance in liturgy? Certainly, the music at mass must be, er…um…executed? Played? Sung? What other word is acceptable? “Performance” can be viewed as a dirty word in liturgy! So what is a musician supposed to do if he or she may not perform?

A few years ago Dr. J. Michael McMahon visited St. Cecilia Parish in Boston to give a symposium on the 2007 USCCB document Sing to the Lord: Music in Divine Worship. With widened eyes he emphatically declared, “…it is not a performance, but the choir had BETTER perform.”

Dr. McMahon is perhaps referring to the diligent preparation of the music, executed with the same attention to detail as any stage performance. However, the delivery is what differs from a secular performance: prayerful humility that points to God instead of to the musician. (However, even great concert artists may take issue with this characterization. Any concert artist desires to move the audience emotionally and spiritually.)

However, I am keenly aware that “performance” in liturgy is often misunderstood as the choir singing alone which is in turn perceived as precluding participation and therefore must not be allowed. However, remember that full and active participation requires both internal and external participation. (See my post on Full and Active Participation.) Yet, the importance of interior participation cannot be underestimated. That the choir may not sing alone is clearly false.

On the various roles of the choir, Sing to the Lord: Music in Divine Worship provides quite a lengthy list of appropriate times in which the choir may sing alone:

“…Appropriate times where the choir might commonly sing alone include a prelude before Mass, the Entrance chant, the Preparation of the Gifts, during the Communion procession or after the reception of Communion, and the recessional. Other appropriate examples are given in the section of this document entitled “Music and the Structure of the Mass” (nos. 137-199).” (Sing to the Lord: Music in Divine Worship. No. 30)

The “other appropriate examples” referred to in nos. 137-199 of the document include the choir singing alone parts of the Gloria, the Gradual, the Sequence, the Creed (in alternatum with the people), and the Agnus Dei with the people responding. While it is inadvisable for the choir to sing alone on everything listed above, the notion that every piece of music must be sung by the congregation is yet another late 20th century liturgical construct. That being said, the document is clear that “The singing of the people should be preeminent.” (Ibid. no. 189)

So, a “performance” in liturgy is something quite different and something I think most of us are prone to, including myself. “Performance” has little to do with the particular music at hand or even its liturgical function. Instead, it has more to do with the manner in which it is delivered. In short, a “performance” in liturgy is to draw attention to oneself rather than to God. This is intangible and difficult to quantify. One cannot always discern what is in another’s heart, but we must be mindful of what is in our own.

Seminarian Ryan G. Duns, SJ puts it quite well in his blog A Jesuit’s Journey. A musician of Irish music, (he’s quite good, I’ve heard him!) he writes here of his understanding of his musical role when accompanying dancers in a secular setting—one we can learn from in a liturgical role:

“The crowd shouldn’t notice the musician, really. We need to dissolve in order that the dancer can find himself or herself caught up in the music and performance. My practice meets their practice in order that they shine…my effort to conceal myself in the music lets the dancer take the stage totally.

“I write this and cannot help but think that this is my notion of priesthood. Just two years from my ordination, it’s not about me putting on a show, about making something happen. My Jesuit training and my musical training converge: I think I’ll be my best when I am noticed least, when I can get out of the way so that those who approach the Lord’s Table are treated, not to a dose of Duns, but to an encounter with the Risen One, the Lord of the Dance.”

There is a lesson here, one that is echoed in the 2007 Bishop’s Document Sing to the Lord: Music in Divine Worship:

125. The role of music is to serve the needs of the Liturgy and not to dominate it, seek to entertain, or draw attention to itself or the musicians. However, there are instances when the praise and adoration of God leads to music taking on a far greater dimension. At other times, simplicity is the most appropriate response. The primary role of music in the Liturgy is to help the members of the gathered assembly to join themselves with the action of Christ and to give voice to the gift of faith.

Likewise, priests must be mindful of the same:

18. “When he celebrates the Eucharist, . . . [the priest] must serve God and the people with dignity and humility, and by his bearing and by the way he says the divine words he must convey to the faithful the living presence of Christ.” (GIRM No. 93)

All this I write for myself as much as for anyone else. I am mindful of my own sinfulness, my own self-interest, my ego, and so on. This serves as a reminder to me to serve God in humility above all.

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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President’s Corner

    Bugnini’s Statement (6 November 1966)
    With each passing day, more is revealed about how the enemies of the liturgy accomplished their goals. For instance, Hannibal Bugnini deeply resented the way Vatican II said Gregorian Chant “must be given first place in liturgical services.” On 6 November 1966, his cadre wrote a letter attempting to justify the elimination of Gregorian Chant with this brazen statement: “What really gives a Mass its tone is not so much the songs as it is the prayers and readings.” Bugnini’s cadre then attacked the very heart of Gregorian Chant (viz. the Proprium Missae), bemoaning how the Proprium Missae “is completely new each Sunday and feast day.” There is much more to be said about this topic. Stay tuned.
    —Jeff Ostrowski
    Luis Martínez Must Go!
    Sevilla Cathedral (entry dated 13 December 1564): The chapter orders Luis Martínez, a cathedral chaplain, to stay away from the choirbook-stand when the rest of the singers gather around it to sing polyphony—the reason being that “he throws the others out of tune.” [Excerpt from “The Life of Father Francisco Guerrero.”]
    —Jeff Ostrowski
    Urgent! • We Desperately Need Funds!
    A few days ago, the president of Corpus Christi Watershed posted this urgent appeal for funds. Please help us make sure we’re never forced to place our content behind a paywall. We feel it’s crucial that 100% of our content remains free to everyone. We’re a tiny 501(c)3 public charity, entirely dependent upon the generosity of small donors. We have no endowment and no major donors. We run no advertisements and have no savings. We beg you to consider donating $4.00 per month. Thank you!
    —Jeff Ostrowski

Quick Thoughts

    Pope Pius XII Hymnal?
    Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.
    —Corpus Christi Watershed
    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed
    Antiphons Don’t Match?
    A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).
    —Corpus Christi Watershed

Random Quote

“We cannot approve of the attitude of those who use the problems raised and discussed by the Council to create in themselves and in others an attitude of unrest and a desire for radical reformation, as if the Council gives every private opinion a chance to destroy the heritage of the Church. acquired during Her many centuries of history and experience.”

— Pope Paul VI (30 June 1965)

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