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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

Orient toward prayer. Orient toward gratitude.

Richard J. Clark · December 11, 2015

ROUBLE LIES in most attempts to change others’ minds and win them over to a specific point of view. Discussions on liturgy and sacred music are rife with such tension. Few convert from one paradigm to the other on the power of words alone.

Furthermore, there are even disagreements over minutia. As the saying goes, put three experts on Gregorian Chant in a room and you’ll have three different ways of singing Gregorian Chant. (But, I think this is a good thing.) The liturgy is so rich in history, tradition, and practice, much left wide open that human nature likes to pick apart as a matter of taste or opinion. This invites trouble.

Regardless of paradigm, personal philosophy and opinion that are more about us than about God require internal recalibration. To do so is both simple and abundantly necessary: Orient ourselves toward prayer.

For example, we may not convince anyone that Gregorian Chant, Renaissance Polyphony, or singing the Mass, etc. is an ideal more worthy than another. But we can all understand that music must orient itself towards reverence and prayer. Do so, and metanoia will take place.

Perhaps not all at once. And perhaps not to the extent that we all now share the same ideas, practices, and preferences. But calibrating our music towards prayerfulness is an essential start. Even then, there is a lot of work to do.

To ask if music is prayerful at Mass is in fact a very fair question. Regardless of the style, is the music being filtered through reverence? Does the music point toward God or toward the musicians? Is the Word at the center of the music? Or is it abundant with sentimentality and bereft of theology?

Does the choir lead the people by example in prayer? This is a more than fair question. It is an essential one. We can talk about the propers and Gregorian Chant later.

NOTHER ESSENTIAL RECALIBRATION is to orient oneself towards gratitude. It is easy to complain about liturgy and sacred music. It is the work of service and the work of a lifetime. Gratitude is an essential component.

With each passing year, I find more to be grateful for. At this point, it is a very long list, and perhaps I am blessed. But I am also grateful for the struggle and for suffering which perhaps has refined my outlook making me that much more grateful for wonderful people around me, for the sacraments, and for the ability to have these discussions in the first place.

I am grateful to be alive and to see God in so many people. There is unspeakable suffering in the world, close to home and far away. But through even small suffering, may we be more grateful. May we be more prayerful. May we gain a sense of awe and wonder—to grasp a sense of the ineffable beauty God works in our lives.

As a result we can only bow in reverence to our loving God.

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

    ‘German’ Introductions for Hymns
    German organ books have an enchanting habit of including introductions for each and every hymn. For example, consider this snazzy example found in a German hymnal published in 1902. In the Saint Jean de Brébeuf Hymnal, that melody is called “Laudes Mariae” and was married to Omni Die Dic Mariae, with a popular English translation (“Daily, daily, sing to Mary”) by Father Henry Bittleston, an Oratorian priest.
    —Jeff Ostrowski
    Buckfast Abbey Weighs In
    Dom John Stéphan was a Benedictine monk of Buckfast Abbey in South Devon, England. On 4 February 1933, he published this interesting letter in THE TABLET. Have you seen the exterior of Buckfast Abbey? It’s beyond gorgeous. I doubt there’s a more arresting Abbey in the entire world. Dom Stéphan’s letter is concerning this momentous collection, which our organization obtained, scanned, and uploaded.
    —Jeff Ostrowski
    Responsorial Psalm Fauxbourdon?
    When it comes to singing Responsorial Psalms in Fauxbourdon, what does this sound like in practice? Can such a thing be done successfully with volunteer choirs in real Catholic parishes? Listen to this audio excerpt from Good Friday and see what you think. Our parish volunteer choir did so well this year—and the ceremonies were ‘standing room only’. For the record, that musical score can be downloaded (completely free of charge) from the flourishing feasts website.
    —Jeff Ostrowski

Quick Thoughts

    PDF • “Liturgical Law” (467 Pages)
    On Good Friday during the middle ages, the pope privately recited THE ENTIRE PSALTER. If you don’t believe me, see for yourself by reading this passage by Dom Charles Augustine Bachofen (d. 1943). His famous book—called “Liturgical Law: A Handbook Of The Roman Liturgy”—was published by the Benjamin Herder Book Company, which was the American arm (operating out of St. Louis, Missouri) of one of the world’s most significant Catholic publishers. Dom Charles Augustine Bachofen was born in Switzerland but spent his career between the Benedictine monasteries at Conception (Missouri) and Mount Angel (Oregon). His 1931 masterpiece, Liturgical Law can be downloaded as a PDF file … 467 pages!
    —Jeff Ostrowski
    “Gregorian Chant Quiz” • 24 March 2026
    How well do you know your Gregorian hymns? Do you recognize the tune inserted into the bass line on this score? For many years, we sang the entire Mass in Gregorian chant—and I mean everything. As a result, it would be difficult to find a Gregorian hymn I don’t recognize instantly. Only decades later did I realize (with sadness) that this skill cannot be ‘monetized’… This particular melody is used for a very famous Gregorian hymn, printed in the LIBER USUALIS. Do you recognize it? Send me an email with the correct words, and I promise to tell everybody I meet about your prowess!
    —Jeff Ostrowski
    PDF Download • “Ubi Caritas” (SATB)
    I remember singing “Ubi Cáritas” by Maurice Duruflé at the conservatory. I was deeply moved by it. However, some feel Duruflé’s version isn’t suitable for small choirs since it’s written for 6 voices and the bass tessitura is quite low. That’s why I was absolutely thrilled to discover this “Ubi cáritas” (SATB) for smaller choirs by Énemond Moreau, who studied with OSCAR DEPUYDT (d. 1925), an orphan who became a towering figure of Catholic music. Depuydt’s students include: Flor Peeters (d. 1986); Monsignor Jules Van Nuffel (d. 1953); Arthur Meulemans (d. 1966); Monsignor Jules Vyverman (d. 1989); and Gustaaf Nees (d. 1965). Rehearsal videos for each individual voice await you at #19705. When I came across the astonishing English translation for “Ubi Cáritas” by Monsignor Ronald Knox—matching the Latin’s meter—I decided to add those lyrics as an option (for churches which have banned Latin). My wife and I made this recording to give you some idea how it sounds.
    —Jeff Ostrowski

Random Quote

Dom Vitry never claimed chant could not be used successfully with English words. No one need take my word for it. He was a pioneer on the matter of vernacular adaptation, and I need only refer you to the many publications of his own “Fides Jubilans” press. What he said was that adaptation involved some mutilation, and that we were faced with one or the other.

— Monsignor Francis P. Schmitt (1963)

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