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Views from the Choir Loft

That’s Entertainment, Folks!

Richard J. Clark · August 7, 2015

HE FIRST PRESIDENTIAL debate of the season was hands down the most entertaining in recent memory if not in history. There was plenty of intrigue, banter, and side plots to distract from substance and policy. Speculation of if and when Donald Trump will wear thin with voters makes for Must See TV. But at some point, politicians must lead. At some point, they must govern. Our lives depend upon it.

Politicians often superficially manipulate perception. Music can do the same. (And I always tell my choir that we must never discuss religion or politics. Rimshot, please.) It is not enough that we are entertaining. In fact, entertainment distracts from the Real Presence. We must lead. We must offer substance. Our spiritual lives depend upon it, as do those whom we serve.

But in order to do so, we too must be spiritually fed and nourished as well. Therefore, we must ask ourselves this simple question, “Are we being fed?”

GOOD BAROMETER FOR THIS IS THE FOLLOWING: When you are in prayer (in the role of a musician or not) are you being fed spiritually? In other words, are your batteries being recharged or are they being drained?

Of course one expects to feel fatigued after working hard in the role of a musician at several Masses. But one should also be uplifted in spirit with energy to forge on in service to God and others.

If one is completely drained, there are two possibilities at play: One is that we are not taking time for silence and reflection during or before the Mass. The second possibility is that there is a disconnect between the music and the Mass itself.

Consider the words from Sacrosanctum Concilium:

112. “(S)acred music is to be considered the more holy in proportion as it is more closely connected with the liturgical action, whether it adds delight to prayer, fosters unity of minds, or confers greater solemnity upon the sacred rites.

ACRED MUSIC NEEDS TO LIVE among the sacred. Otherwise we have two separate and incongruent things going on: entertainment on the one hand and prayer that seems awkwardly out of place on the other. We have seen the “talk-show” celebrant that may be incongruent with reverent music. And we have seen a prayerful celebrant with music that selfishly draws too much attention to itself (regardless of style).

From US Bishop’s document Sing to the Lord: Music in Divine Worship (SttL):

125. The role of music is to serve the needs of the Liturgy and not to dominate it, seek to entertain, or draw attention to itself or the musicians…The primary role of music in the Liturgy is to help the members of the gathered assembly to join themselves with the action of Christ and to give voice to the gift of faith.

As such, sacred music is not simply a “nice addition to the Mass.” It is wedded to the Mass, just as chant grew up side by side with the Roman Rite. Sacred music exists to help us pray the words of the Mass. If this is not happening, we may often feel instinctively out of sorts. If the words of the Mass are constantly changed, this too contributes to a disconcerted feeling.

RE YOU BEING FED? If not, examine your environment. Seek God in silent prayer. Tell Him the desires are that are deep in your heart. Allow Him to enter your life in close relationship. If not, God will still seek you out. He will go after you, find you, feed you, and send you forth to do what He calls you to do. For this, be joyful.

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 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

    Bugnini’s Statement (6 November 1966)
    With each passing day, more is revealed about how the enemies of the liturgy accomplished their goals. For instance, Hannibal Bugnini deeply resented the way Vatican II said Gregorian Chant “must be given first place in liturgical services.” On 6 November 1966, his cadre wrote a letter attempting to justify the elimination of Gregorian Chant with this brazen statement: “What really gives a Mass its tone is not so much the songs as it is the prayers and readings.” Bugnini’s cadre then attacked the very heart of Gregorian Chant (viz. the Proprium Missae), bemoaning how the Proprium Missae “is completely new each Sunday and feast day.” There is much more to be said about this topic. Stay tuned.
    —Jeff Ostrowski
    Luis Martínez Must Go!
    Sevilla Cathedral (entry dated 13 December 1564): The chapter orders Luis Martínez, a cathedral chaplain, to stay away from the choirbook-stand when the rest of the singers gather around it to sing polyphony—the reason being that “he throws the others out of tune.” [Excerpt from “The Life of Father Francisco Guerrero.”]
    —Jeff Ostrowski
    Urgent! • We Desperately Need Funds!
    A few days ago, the president of Corpus Christi Watershed posted this urgent appeal for funds. Please help us make sure we’re never forced to place our content behind a paywall. We feel it’s crucial that 100% of our content remains free to everyone. We’re a tiny 501(c)3 public charity, entirely dependent upon the generosity of small donors. We have no endowment and no major donors. We run no advertisements and have no savings. We beg you to consider donating $4.00 per month. Thank you!
    —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

“As often as possible they gathered together the children of the village and sat them down in the cabin. Father Brébeuf would put on a surplice and biretta and chant the Our Father, which Father Daniel had translated into Huron rhymes, and the children would chant it after him. Next, he taught them the sign of the cross, the Hail Mary, the Apostles’ Creed, and the Commandments.”

— Biography of St. Jean de Brébeuf

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Corpus Christi Watershed is a 501(c)3 public charity dedicated to exploring and embodying as our calling the relationship of religion, culture, and the arts. This non-profit organization employs the creative media in service of theology, the Church, and Christian culture for the enrichment and enjoyment of the public.

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