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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

    New Bulletin Article • “21 September 2025”
    My pastor requested that I write short articles each week for our parish bulletin. Those responsible for preparing similar write-ups may find a bit of inspiration in these brief columns. The latest article (dated 21 September 2025) discusses some theological items—supported by certain verses in ancient Catholic hymns—and ends by explaining why certain folks become delirious with jealousy when they observe feats by Monsignor Ronald Knox.
    —Jeff Ostrowski
    Cheap! Cheap! Cheap!
    It’s always amusing to see old diocesan newspapers—in huge capital letters—advertising the Cheapest Catholic Paper in the United States. The correspondent who sent this to me added: “I can think of certain composers, published by large companies in our own day, who could truthfully brag about the most tawdry compositions in the world!” I wonder what she could have meant by such a cryptic comment…
    —Jeff Ostrowski
    PDF Download • Dom Murray Harmonies
    Along with so many others, I have deep respect for Dom Gregory Gregory Murray, who produced this clever harmonization (PDF) of “O SANCTISSIMA.” It’s always amazed me that Dom Gregory—a truly inspired composer—was so confused when it came to GREGORIAN CHANT. Throughout his life, he published contradictory statements, veering back-and-forth like a weather vane. Toward the end of his life, he declared: “I see clearly that the need for reform in liturgical music arose, not in the 18th and 19th centuries, but a thousand years earlier—in the 8th and 9th centuries, or even before that. The abuses began, not with Mozart and Haydn, but with those over-enthusiastic medieval musicians who developed the elaborate and flamboyant Gregorian Chant.”
    —Jeff Ostrowski

Quick Thoughts

    Karl Keating • “Canonization Questions”
    We were sent an internet statement (screenshot) that’s garnered significant attention, in which KARL KEATING (founder of Catholic Answers) speaks about whether canonizations are infallible. Mr. Keating seems unaware that canonizations are—in the final analysis—a theological opinion. They are not infallible, as explained in this 2014 article by a priest (with a doctorate in theology) who worked for multiple popes. Mr. Keating says: “I’m unaware of such claims arising from any quarter until several recent popes disliked by these Traditionalists were canonized, including John XXIII, Paul VI, and John Paul II. Usually Paul VI receives the most opprobrium.” Mr. Keating is incorrect; e.g. Father John Vianney, several centuries ago, taught clearly that canonizations are not infallible. Archbishop Fulton J. Sheen would be another example, although clearly much more recent than Saint John Vianney.
    —Corpus Christi Watershed
    Vatican II Changed Wedding Propers?
    It’s often claimed that the wedding propers were changed after Vatican II. As a matter of fact, that is a false claim. The EDITIO VATICANA propers (Introit: Deus Israel) remained the same after Vatican II. However, a new set of propers (Introit: Ecce Deus) was provided for optional use. The same holds true for the feast of Pope Saint Gregory the Great on 3 September: the 1943 propers (Introit: Si díligis me) were provided for optional use, but the traditional PROPRIA MISSAE (Introit: Sacerdótes Dei) were retained; they weren’t gotten rid of. The Ordo Cantus Missae (1970) makes this crystal clear, as does the Missal itself. There was an effort made in the post-conciliar years to eliminate so-called “Neo-Gregorian” chants, but (contrary to popular belief) most were retained: cf. the feast of Christ the King, the feast of the Immaculate Conception, and so forth.
    —Corpus Christi Watershed
    Solemn “Salve Regina” (Chant)
    How many “S” words can you think of using alliteration? How about Schwann Solemn Salve Score? You can download the SOLEMN SALVE REGINA in Gregorian Chant. The notation follows the official rhythm (EDITIO VATICANA). Canon Jules Van Nuffel, choirmaster of the Cathedral of Saint Rumbold, composed this accompaniment for it (although some feel it isn’t his best work).
    —Corpus Christi Watershed

Random Quote

After ordering the bishops to appoint in each diocese “special commission of persons who are really competent in the matter, to whom they will entrust the duty of watching over the music performed in the churches in whatever way may seem most advisable,” Pope Pius X continues—“this commission will insist on the music being not only good in itself, but also proportionate to the capacity of the singers, so that it may be always well executed.”

— Dom Alphege Shebbeare (Downside Review)

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