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Views from the Choir Loft

Christmas and the Universal Role of Music

Richard J. Clark · December 25, 2015

HRISTMAS IS a time in which music plays a universal role. It is deeply important for those who are devoutly religious and for those who are not. Music touches all of us who are struggling with our own faith.

The birth of Christ recalls a specific time and place as does the music of Christmas. It is sacred music that has poured out into an increasingly secular world. This is a wonderful opportunity and with it comes a special call of service.

Saint Cecilia is the patroness of sacred music and, as such, holds a special place in the hearts of musicians. “He who sings prays twice” is a saying often attributed to Saint Augustine. There is reason to believe that Augustine may not have written those exact words, but he did write, “Singing belongs to the one who loves.”

Music has a unique way of lifting our spirits and making us happy. It is evocative and stirs up memories and experiences from earlier times and places. Singing has the power to unite and to create harmony out of diversity. And song is a gift from God — an expression of his love for us. How do we acknowledge such a gift? By singing. We sing praise to God as a way of expressing our gratitude and love.

In addition to making music that is pleasing to the ear, music ministers are called to serve the community by fostering prayer. In service of the liturgy, sacred music is not simply for ephemeral pleasure (although one hopes it is pleasing!) but for transformative healing and enduring growth. This holds true both for the individual and the community. This is our hope — this is our call.

For when we enter the doors of our churches one never knows what pain, suffering, grief or burdens those among us carry. This is the beauty and the gift of community. When we are unable to pray — when we are distracted, or burdened, or overcome with grief — the community carries us along; the community buoys our spirit and sustains us; the community prays on our behalf. Our voices raised in prayer each week can provide comfort and solace to our brothers and sisters in need. Our very presence at liturgy, along with our spoken and sung prayer, have untold effects on others and can act as a lifeline in ways which we will never know.

For with the birth of Christ comes not only the baby Jesus, but justice, peace and our very Salvation. For this we shout for joy, singing a new song unto the Lord! (Psalm 98)

A cry from deep within our being, music is a way for God to lead us to the realm of higher things. — St. Augustine, Epistoia 166, De origine animae hominis


COMMUNION PROPER FOR EPIPHANY:

      * *  Free Download:
PDF • Vidimus stellam | Communion Antiphon | Epiphany of the Lord | for Schola, SATB, Organ
Here’s a demo I threw together quickly. I used the piano instead of the organ as I was traveling at the time:
      * *  YouTube:  Rehearsal DEMO

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

    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
    “Booklet of Eucharistic Hymns” (16 pages)
    I was asked to create a booklet for my parish to use during our CORPUS CHRISTI PROCESSION on 22 June 2025. Would you be willing to look over the DRAFT BOOKLET (16 pages) I came up with? I tried to include a variety of hymns: some have a refrain; some are in major, others in minor; some are metered, others are plainsong; some are in Spanish, some are in Latin, but most are in English. Normally, we’d use the Brébeuf Hymnal—but we can’t risk having our congregation carry those heavy books all over the city to various churches.
    —Jeff Ostrowski
    “Yahweh” in church songs?
    My pastor asked me to write a weekly column for our parish bulletin. The one scheduled to run on 22 June 2025 is called “Three Words in a Psalm” and speaks of translating the TETRAGRAMMATON. You can read the article at this column repository. All of them are quite brief because I was asked to keep within a certain word limit.
    —Jeff Ostrowski

Quick Thoughts

    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
    When to Sit, Stand and Kneel like it’s 1962
    There are lots of different guides to postures for Mass, but I couldn’t find one which matched our local Latin Mass, so I made this one: sit-stand-kneel-crop
    —Veronica Brandt
    The Funeral Rites of the Graduale Romanum
    Lately I have been paging through the 1974 Graduale Romanum (see p. 678 ff.) and have been fascinated by the funeral rites found therein, especially the simply-beautiful Psalmody that is appointed for all the different occasions before and after the funeral Mass: at the vigil/wake, at the house of the deceased, processing to the church, at the church, processing to the cemetery, and at the cemetery. Would that this “stational Psalmody” of the Novus Ordo funeral rites saw wider usage! If you or anyone you know have ever used it, please do let me know.
    —Daniel Tucker

Random Quote

On 26 July 1916—during the German occupation of Belgium—a student choir led by Van Nuffel performed his setting of the psalm “Super flumina Babylonis” in Saint Rumbold’s Cathedral. The text and the musical setting very aptly expressed the depressed and rebellious mood of the population. The acclaim was enormous, and it laid the foundation for Van Nuffel’s formation of the Saint Rumbold’s choir.

— Unknown

Recent Posts

  • Urgent! • We Desperately Need Funds!
  • PDF Download • “Polyphonic Extension” (Kevin Allen) for Gloria III
  • “Booklet of Eucharistic Hymns” (16 pages)
  • PDF Download • “Text by Saint Francis of Assisi” (choral setting w/ organ: Soprano & Alto)
  • “Yahweh” in church songs?

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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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