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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

Sacred Music and The New Evangelization

Richard J. Clark · September 11, 2013

R. WILLIAM MAHRT REMINDS US that the Second Vatican Council “gave music, of all the arts, the most central position in the liturgical action.” (The Musical Shape of the Liturgy. Pg. 61) In other words, Vatican II reaffirmed the unique function of music within the sacred liturgy:

“Therefore sacred music is to be considered the more holy in proportion as it is more closely connected with the liturgical action…” (Sacrosanctum Concillium § 112)

While liturgical action is the guiding dynamic of sacred music’s implementation, the Word shapes the creation of this music. These are wholly countercultural realities: the Word and the liturgical action as the driving forces of music. As such, truly sacred liturgical music possesses a function—a responsibility—that is quite different from music of secular society and also of some religious denominations. Sadly, it also differs substantially from common liturgical practice in the Roman Catholic Church today. This is worth examining in light of music’s role in evangelization.

We are all familiar with the secularization of sacred music, not simply in style, but most importantly in its primary function and purpose: to make us feel good, to infuse energy or emotion, to express ourselves and our own feelings. These are not bad things in and of themselves. In fact, they are quite good and may even inspire deep devotion and inspiration. However, there must be an understanding of time (or timelessness) and place. The liturgical purpose of true sacred music is what sets it apart from the rest of the world, and hence, why divine worship is wholly transformative when music is wedded both to the Word and to the liturgical action. This is what makes music sacred—set apart from the world and “set aside” for the liturgy.

The musical tradition of the universal Church is a treasure of inestimable value, greater even than that of any other art. The main reason for this pre-eminence is that, as sacred song united to the words, it forms a necessary or integral part of the solemn liturgy. (Ibid)

F THE CURCH WERE TO RECLAIM the proper role and function of its very own music, it would go a long to way to repossessing the deeply influential significance of the liturgy in our everyday lives. In turn, this would most compellingly and powerfully foster evangelization. Acquiescence to secular culture or even to American religious culture in order to fill the pews is shortsighted. For those of us lost and craving a true presence of God in our lives, the mass, our greatest prayer, is the rock and foundation. It is the way to evangelization.

The New Evangelization describes the work of the Church as “…to bring all people into relationship with God, and also to transform and sanctify the society in which we live.” (U.S. Catholic bishops, Disciples Called to Witness: The New Evangelization).

HE MASS IS WHERE WE FOSTER OUR RELATIONSHIP WITH GOD and as a result, with each other. As such, it is not overstated in the least that the mass is the most important work of the Church. It strengthens us to go out into the world to do the work of the Gospel. Therefore, it is no trivial matter to love the liturgy, to love the Word and to love the music to which it is wedded. If our work in sacred music is for the Glory of God alone, we are called to not only “preserve and foster sacred music with great care” as urged by Vatican II, but we are also called to evangelize through sacred music. Why? Because music, in no small, part nurtures our prayer and therefore our relationship with God and with each other.

THE WORD, MUSIC, AND HOW WE LIVE OUT OUR LIVES are all connected. For those of us charged with shaping lives through music, let us not forget this responsibility. Furthermore, let us also pray for our pastors—the shepherds of the faithful who support musicians of sacred music. Their jobs are not easy, as they are responsible for more than most any person would dare to take on. Pray that they have the wisdom, courage, and foresight to support true scared music—music that is wedded to the Word, wedded to the liturgical action, and therefore wedded to our prayer.

We pray for all of this so that we may go forth and evangelize.

John 15: 16: “It was not you who chose me, but I who chose you and appointed you to go and bear fruit that will remain.”

Opinions by blog authors do not necessarily represent the views of Corpus Christi Watershed.

Filed Under: Articles Tagged With: Evangelization 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

    New Bulletin Article • “21 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 21 September 2025) discusses some theological items—supported by certain verses in ancient Catholic hymns—and ends by explaining why certain folks become delirious with jealousy when they observe feats by Monsignor Ronald Knox.
    —Jeff Ostrowski
    Cheap! Cheap! Cheap!
    It’s always amusing to see old diocesan newspapers—in huge capital letters—advertising the Cheapest Catholic Paper in the United States. The correspondent who sent this to me added: “I can think of certain composers, published by large companies in our own day, who could truthfully brag about the most tawdry compositions in the world!” I wonder what she could have meant by such a cryptic comment…
    —Jeff Ostrowski
    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

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

“Some of our younger parish clergy read their sermons. This should not be done except for some very special reason. The priest who is not capable of preparing and delivering a brief, clear instruction on Catholic teaching to his people is not fit to be in parish work. The people as a rule do not want to listen to a sermon reader.”

— Archbishop of Baltimore (9 July 1929)

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