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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

    Music List • (Holy Thursday, 2026)
    Readers have expressed interest in seeing the ORDER OF MUSIC I created for Holy Thursday, which is 2 April 2026. If such a thing interests you, feel free to download it as a PDF file. I’m not sure I’ve ever heard a more piercingly beautiful INTROIT, and I have come to absolutely love the SATB version of ‘Ubi cáritas’ we are singing (joined by our burgeoning children’s choir). I encourage all the readers to visit the feasts website, where the Propria Missae may be downloaded completely free of charge.
    —Jeff Ostrowski
    “O Escam Viatorum” • (Holy Thursday)
    When I was very young, I erroneously believed the four psalms provided by the 1957 Liber Usualis—for Communion on Holy Thursday—were the “correct” music to sing on that first day of the TRIDUUM SACRUM. Those four psalms are: Psalm 22 (Dóminus regit me et nihil mihi déerit); Psalm 71 (Deus judícium tuum regi da); Psalm 103 (Bénedic ánima méa); and Psalm 150 (Laudáte Dóminum in sanctis ejus). It turns out I was way out in left field! While nothing forbids singing those psalms, many other options are equally valid. Our volunteer parish choir will sing this COMMUNION PIECE (joined by our burgeoning children’s choir) on Holy Thursday during Holy Communion. Needless to say, this will happen after the proper antiphon from the GRADUALE ROMANUM has been sung.
    —Jeff Ostrowski
    Music List • (4th Sunday of Lent)
    Readers have expressed interest in seeing the ORDER OF MUSIC I created for this coming Sunday, which is the 4th Sunday of Lent (15 March 2026). If such a thing interests you, feel free to download it as a PDF file. This feast has sublime propers. It is most often referred to as “Lætare Sunday” owing to its INTROIT. I encourage all the readers to visit the feasts website, where the Propria Missae may be downloaded completely free of charge.
    —Jeff Ostrowski

Quick Thoughts

    Stumped by “Episcopalian Hymnal” (1910)
    Some consider Songs of Syon (1910) the greatest Episcopalian hymnal ever printed. As a Roman Catholic, I have no right to weigh in one way or the other. However, this particular page has me stumped. I just know I’ve heard that tune somewhere! If you can help, please email me. I’m talking about the text which begins: “This is the day the Lord hath made; In unbeclouded light array’d.” The book is by George Ratcliffe Woodward, and its complete title is: Songs of Syon: A Collection of Psalms, Hymns, and Spiritual Songs. Back in 2016, Corpus Christi Watershed scanned and uploaded this insanely rare book. For years our website was the sole place one could download it as a PDF file.
    —Jeff Ostrowski
    “Dies Irae” • A Monstrous Translation
    It isn’t easy to determine what Alice King MacGilton hoped to accomplish with her very popular book—A Study of Latin Hymns (1918)—which continued to be reprinted in new editions for at least 34 years. This PDF file shows her attempt to translate the DIES IRAE “in the fewest words possible.” There’s a place for dynamic equivalency, but this is repugnant. In particular, look what she does to “Quærens me sedísti lassus.”
    —Jeff Ostrowski
    PDF Download • “Holy, Holy, Holy”
    For vigil Masses on Saturday (a.k.a. “anticipated” Masses) we use this simpler setting of the “Holy, Holy, Holy” by Monsignor Jules Vyverman (d. 1989), a Belgian priest, organist, composer, and music educator who ultimately succeeded another ‘Jules’ (CANON JULES VAN NUFFEL) as director of the Lemmensinstituut in Belgium. Although I could be wrong, my understanding is that the LEMMENSINSTITUUT eventually merged with “Catholic University of Leuven” (originally founded in 1425). That’s the university Fulton J. Sheen attended.
    —Jeff Ostrowski

Random Quote

“Much more serious was the problem, what to do about ‘thou’ and ‘you.’ I confess I would have liked to go the whole hog, and dispense with the use of ‘thou’ and ‘thee’, even where the Almighty was being addressed. They do these things in France, but I felt sure you could not get it past the British public. Why not, then, have ‘thou’ for God and ‘you’ for man? That is Moffatt’s principle; but it seems to me to break down hopelessly in relation to our Incarnate Lord…”

— Monsignor Ronald A. Knox

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