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“A much greater source of anxiety to Us is the style of action of those who maintain that liturgical worship should shed its sacred character, who foolishly say we should substitute for sacred items & furnishings ordinary common things in daily use.” —Pope Saint Paul VI (14 Oct 1968)

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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

    15th Sunday in Ordinary Time (Year C)
    This coming Sunday—13 July 2025—is the 15th Sunday in Ordinary Time (Year C). All the chants have been conveniently assembled and posted at the feasts website. The OFFERTORY, Ad Te Levávi, is particularly beautiful.
    —Jeff Ostrowski
    Music Director Job • $80,000 per year
    Our readers will be interested in this job offering for Music Director at Saint Adalbert’s Basilica, located 40 minutes from where I live. My pastor was recently elevated to this basilica. He is offering $80,000 per year, plus benefits. I’m told Saint Adalbert’s Basilica is utterly gorgeous and contains one of America’s most magnificent pipe organs. It would be fantastic to have a colleague nearby!
    —Jeff Ostrowski
    Simplest “Agnus Dei” Ever Published
    Our choir is on break during the month of July. I needed a relatively simple “Agnus Dei,” so I composed this setting for organ & voice in honor of Saint René Goupil. It has been called the simplest setting ever composed. I love CARMEN GREGORIANUM (“Gregorian Chant”), especially the ALLELUIAS, INTROITS, and COMMUNION ANTIPHONS. That being said, some have pointed out that certain sections of the Kyriale aren’t as strong as the Graduale or Vesperale. There’s a reason for this—but it would be too complicated to explain at this moment.
    —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

To end an impropriety, noticed particularly at orchestral Vespers, when two or three Psalms are sung with full orchestra, and then the other Psalms and the Hymn are rapidly hurried through with organ accompaniment only […] we order that at Mass all portions of the text, including “Agnus Dei,” be sung with orchestral accompaniment. […] Moreover, the musicians are not allowed to put the instruments away and leave their places before the conclusion of the sacred function.

— Cardinal Patrizi (18 November 1856)

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