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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

Cake or Frosting?

Andrew Leung · August 27, 2015

CTL Cake AST WEEK, I posted about the danger of confusing Praise and Worship and the actual Worship, the Liturgy. My post and the article on the LifeTeen blog led to some intense discussions. The discussions were mainly on the meaning of the term “Worship”. The term itself might have different meanings based on different religions and dictionaries. But in the Roman Catholic tradition, it has always meant the Liturgy, that is the Mass, Liturgy of the Hours, Sacraments, Exposition and Benediction. Because of that, the term “Worship” should not be watered down to just any prayer meeting, like praise with guitars and drums.

During our discussion, this following line came up:

I find praise and worship odd when the Blessed Sacrament is not present.

I do not wish to discuss whether praise music should be sung during Exposition and other liturgies because that is not the point of this post. I would like to focus on the sentence above objectively. I have heard similar lines from people many times when I was in Steubenville. I totally understand what my friend was trying to say and some of you might think what I am about to do is just me being too picky. But bear with me.

After I read the line, I felt there is something wrong with it and it is disturbing. I tried to look at the sentence objectively and analyze the structure of the sentence: “praise and worship” is the subject and “Blessed Sacrament” is the object of the line. If the Eucharist is the source and summit, shouldn’t this sentence be reverse? Saying that the Eucharist makes praise and worship better is basically saying that praise and worship is the cake and the Eucharist is the frosting. But the truth is, the Eucharist is the cake, the source and summit, and praise and worship is the frosting, devotion that leads us to Christ.

Now, let’s apply the same idea to Sacred Music and the Liturgy. Sacred Music is the handmaid of the Liturgy. The Liturgy is the cake and Sacred Music is the frosting; Liturgical Music elevates the minds of the Faithful to God and add solemnity to the Liturgy.

OR MANY church musicians, now is the beginning of a new music season. We need to be careful not to reverse the cake and the frosting. We need to remember to “sing the Mass”, but not just “sing at Mass”. We must pray as we sing. It is not a performance, however, nice-looking frosting attracts people and “elevate people’s minds”; quality and certain level of perfection is still required. Similarly, quality and authentic Sacred Music (or as the Church said: Holy, Beautiful and Universal music) will lead people to our Lord.

Now would be a good time to learn or review how to Sing Prayerfully.

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 Leung

Andrew Leung currently serves the music director of Vox Antiqua, conductor of the Cecilian Singers, and music director at Our Lady of China Church.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    Music List • (5th Sund. Ordinary Time)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for this coming Sunday, 8 February 2026, which is the 5th Sunday in Ordinary Time (Year A). If such a thing interests you, feel free to download it as a PDF file. You will probably notice it isn’t as ‘complete’ or ‘spiffy’ as usual, owing to some difficulties which took place this week.
    —Jeff Ostrowski
    PDF • “Communion” (5th Sunday in Ordin.)
    The COMMUNION ANTIPHON for this coming Sunday, 8 February 2026—which is the 5th Sunday in Ordinary Time (Year A)—is truly delightful. You can download the musical score completely free of charge. This text will be familiar to altar boys, because it’s PSALM 42. The Feder Missal makes the following claim about that psalm: “A hymn of a temple musician from Jerusalem: he is an exile in a heathen land, and he longs for the holy city and his ministry in the Temple there. The Church makes his words her own.”
    —Jeff Ostrowski
    Funeral Music “Template” • For Families
    Many have requested the MUSICAL TEMPLATE for funerals we give to families at our parish. The family of the deceased is usually involved in selecting Number 12 on that sheet. This template was difficult to assemble, because the “Ordo Exsequiarum” has never been translated into English, and the assigned chants and hymns are given in different liturgical books (Lectionary, Gradual, Order of Christian Funerals, and so on). Please notify me if you spot errors or broken links. Readers will be particularly interested in some of the plainsong musical settings, which are truly haunting in their beauty.
    —Jeff Ostrowski

Quick Thoughts

    “Reminder” — Month of Febr. (2026)
    On a daily basis, I speak to people who don’t realize we publish a free newsletter (although they’ve followed our blog for years). We have no endowment, no major donors, no savings, and refuse to run annoying ads. As a result, our mailing list is crucial to our survival. It couldn’t be easier to subscribe! Just scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski
    PDF Chart • “Plainsong Rhythm”
    I will go to my grave without understanding the lack of curiosity so many people have about the rhythmic modifications made by Dom André Mocquereau. For example, how can someone examine this single sheet comparison chart and at a minimum not be curious about the differences? Dom Mocquereau basically creates a LONG-SHORT LONG-SHORT rhythmic pattern—in spite of enormous and overwhelming manuscript evidence to the contrary. That’s why some scholars referred to his method as “Neo-Mensuralist” or “Neo-Mensuralism.”
    —Jeff Ostrowski
    PDF • “O Come All Ye Faithful” (Simplified)
    I admire the harmonization of “Adeste Fideles” by David Willcocks (d. 2015), who served as director of the Royal College of Music (London, England). In 2025, I was challenged to create a simplified arrangement for organists incapable of playing the authentic version at tempo. The result was this simplified keyboard arrangement (PDF download) based on the David Willcocks version of “O Come All Ye Faithful.” Feel free to play through it and let me know what you think.
    —Jeff Ostrowski

Random Quote

“Worse, composers are now setting the introits of the missal [instead of the Graduale] to music, even to chant, though these texts were explicitly for spoken recitation only.”

— ‘Dr. William Mahrt (Fall, 2015)’

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  • PDF • “Communion” (5th Sunday in Ordin.)
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  • Funeral Music “Template” • For Families
  • “To Cover Sin With Smooth Names”

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