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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

My Response To “Should Church Singers Be Paid?”

Jeff Ostrowski · August 4, 2015

439 paid singers stained glass ACK IN APRIL, I promised to write about the subject of paying singers at Church. At that time, I carefully avoided revealing my thoughts on the matter. Nevertheless, I received an avalanche of emails, with a few attacking me personally. Some were angry I had condemned paid singers, while others criticized me supporting paid singers. In fact, I made neither statement.

A great theologian has written:

There’s nothing wrong with paying singers at Mass. It is simply a recognition of the fact that a professional singer (or section leader) has a special role to play in the total event of a MISSA CANTATA, which deserves a special acknowledgement according to the Gospel: Dignus est operarius mercede sua (I Tim 5: 18).

I agree, but there’s more to the story…

EACH CHOIRMASTER MUST decide for himself the best course of action. During my career, I’ve worked with paid singers and volunteers. Everyone knows the challenges that can arise with volunteers, but did you know paid singers can also bring problems? In my experience, when singers are paid, it can (sometimes) be difficult to ascertain if they’re attending Mass for the right reasons. Moreover, feelings of jealousy can grow in the other singers’ hearts. 1

Some will think me a fool, but I prefer not to rely on paid section leaders. My preference is to find parishioners who already attend Mass for the right reasons, training them. If I had paid section leaders, the non-paid singers might feel “extra,” whereas the paid singers are all that’s necessary. Our current arrangement causes me sleepless nights filled with worry—it’s true—but in my humble opinion the singers appreciate being needed. 2

If I were to employ paid singers again—and I reserve the right to change my mind!—I would do so through an established program. I would avoid making statements like one I’ll never forget, directed at a section leader whose attendance was poor: “Remember, if you don’t show up on Holy Thursday, you won’t get your $40.00.” It would be understood that section leaders receive a stipend provided in a subtle, equitable, and dignified manner. 3

When the lights break in the church, we pay an electrician. Priests, of course, are always paid (salary, health insurance, living expenses, cost of transportation, and so on). Organists, too, are generally paid, which I think is appropriate. Yet, in all my years serving as an Altar Boy—acolyte, thurifer, torchbearer, and master of ceremonies—I only remember getting paid once: for a funeral. I suppose much depends on local custom.



NOTES FROM THIS ARTICLE:

1   With regard to paying the choirmaster, I have no issue with this, but I also worked for years as a volunteer choirmaster & organist. Justice would seem to demand compensation in this case, since preparing for Sunday can easily require 40+ hours of hard work each week.

2   I recall sharing my views while serving on a discussion panel in front of an audience. One of my colleagues muttered something like, “It’s a pity you don’t hold your choir to the highest standards.” However, one can still have high standards while following the program I’ve outlined, where volunteer singers are found in one’s parish. Furthermore, if there’s excess money, it could be spent on other things that would improve the sacred music, such as hiring a music teacher for children in the parish. In short, I disagree with that panelist’s statement.

3   I once worked at a large parish where the administration constantly forgot to pay me. Twice or thrice each month I was forced to beg the secretary for my paycheck; it was truly humiliating. But these same folks somehow consistently remembered to pay the electric bill.

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 Jeff Ostrowski

Jeff Ostrowski holds his B.M. in Music Theory from the University of Kansas (2004). He resides with his wife and children in Michigan. —(Read full biography).

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Corpus Christi Watershed

President’s Corner

    Like! Like! Like!
    You won’t believe who recently gave us a “like” on the Corpus Christi Watershed FACEBOOK PAGE. Click here (PDF) to see who it was. We were not only sincerely honored, we were utterly flabbergasted. This was truly a resounding endorsement and unmistakable stamp of approval.
    —Jeff Ostrowski
    PDF Download • “Atténde Dómine”
    Although it isn’t nearly as ancient as other hymns in the plainsong repertoire, Atténde Dómine, et miserére, quía peccávimus tíbi (“Look down, O Lord, and have mercy, for we have sinned against Thee”) has become one of the most popular hymns for LENT—perhaps because it was included in the famous Liber Usualis of Solesmes. This musical score (PDF file) has an incredibly accurate version in English, as well as a nice version in Spanish, and also the original Latin. Although I don’t claim to have a great singing voice, this morning I recorded this rehearsal video.
    —Jeff Ostrowski
    Music List • (1st Sunday of Lent)
    Readers have expressed interest in seeing the ORDER OF MUSIC I’ve prepared for this coming Sunday—22 February 2026—the 1st Sunday of Lent (Year A). If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are available at the outstanding feasts website alongside the official texts in Latin. I spent an enormous amount of time preparing this ORDER OF MUSIC—because the children’s choir will join us—and some of its components came out great. For example, the COMMUNION ANTIPHON with Fauxbourdon is utterly resplendent, yet still ‘Lenten’.
    —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

“These French offices represent a new case of the old tendency towards local modification—which the Council of Trent had meant to repress. They are commonly attributed to Gallican ideas and are supposed to be not free from Jansenist venom. Some of these local French uses survived almost to our own time. They were supplanted by the Roman books in the 19th century, chiefly by the exertions of Dom Prosper Guéranger (d. 1875).”

— Dr. Adrian Fortescue (d. 1923)

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