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“A much greater source of anxiety to Us is the style of action of those who maintain that liturgical worship should shed its sacred character, who foolishly say we should substitute for sacred items & furnishings ordinary common things in daily use.” —Pope Saint Paul VI (14 Oct 1968)

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Views from the Choir Loft

Six Things Of Which We’ve Lost Sight

Richard J. Clark · September 4, 2015

ORE RECENTLY I’ve taken the opportunity to bring my children to Mass with me while I am working. Doing so affects my experience in prayer subtly and not so subtly. One such experience was having my daughter unexpectedly reach up to hold my hand just as I was intoning the Alleluia. Pleasantly startled, it was a sensation I have never felt in such a context–it left quite an impression on my soul.

She held my hand until I was done singing. She didn’t say anything. That was that–a child doing what comes naturally to them: being a beacon of light and truth.

HIS PROVIDES PERSPECTIVE on the many debates about liturgy and especially music. Every music director is quite used to fielding critiques, comments, opinions, etc., about what music would be better than what one is currently providing. Everyone would like more of this and less of that. And less of this and more of that.

Forget style. Here are things we’ve lost sight of and need to get back:


1. THE MASS IS A SUNG PRAYER.

Regardless of the style of music, are we singing the Mass? Are we singing the dialogues, the acclamations, both considered even by Sing to the Lord: Music in Divine Worship (SttL) to be the most important things that we sing? (And hymns and songs the least important as indicated by SttL §115d and the GIRM §48.)

Are we helping our priests—especially those who are not inclined to sing—to chant the presidential texts, Preface, or dialogues?

If not, why not?

Singing the Mass is integral; music is not an “addition” to the Mass. Sacred song grew up side by side with the Roman Rite in the singing of the texts of the Mass and hence scripture. This is our core understanding. This is the core understanding of Vatican II. (SC§ 112)


2. OUR PREFERENCES DON’T MATTER

What happens at Mass is entirely the work of God and a gift from God. Our personal tastes don’t matter very much in light of this. Corporate prayer necessitates the subjection of our will to God’s will. This is difficult. It’s supposed to be difficult, yet joyous!

Like a family, we naturally put the greater good ahead of our own desires. God’s will is all. This understanding comes naturally when we align ourselves to trust God. It may also come as a blessed relief as God carries our burdens.


3. CHRIST IS THE CENTER OF OUR MUSIC—NOT US.

Losing sight of this is perhaps the most dangerous. We should see Christ in our neighbor. That is what we are called to do.

But liturgical music is often manipulated and abused as a god of personal gratification. Music of all styles can become an idol when used for this purpose.

Is Christ the center of our music both in the text and intent? If we are the center, we’ve missed the opportunity to be intimate with God and nurture our relationship with Him. Furthermore, God at the core creates the opportunity to strengthen our relationships with each other.


4. WE LIVE TO SERVE.

We live to serve God and His people. It’s that simple. Ubi caritas et amor, Deus ibi est. Incidentally, this is where we find true fulfillment and happiness.


5. CHRIST IS ETERNAL. OUR MUSIC MIGHT NOT BE.

Consider that the fifty years since Vatican II are but a blink of an eye in the history of music, no less the world. Hundreds of years or even a millennium are nothing in the sight of God. But God also knows every hair on your head and knows all good things that you need.

Consider that the often-used terms “traditional” and “contemporary” are not styles. They describe aspects of time. Every note I’ve composed this year is “contemporary.” I’ll be fortunate if in a couple hundred years any of it becomes “traditional.” I won’t care by then I hope, because Christ is eternal.


6. GOD WANTS YOU CLOSE.

Pray unceasingly. God wants you close. He will find you, hunt you down and draw you near in an eternal loving embrace.

Y DAUGHTER REACHING FOR MY HAND while I was singing will probably teach me more than any books will. She communicated far more than my music ever will. It was love beyond words.

If God’s love is anything like my daughter’s for her parents, we have reason to rejoice. We have great reason to look forward to the Heavenly Banquet. We have the greatest reason to glorify God in divine worship.

Soli Deo gloria

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

    “Music List” • 15th in Ordinary Time (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 15th Sunday in Ordinary Time (13 July 2025). If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and propers for this Sunday are also provided at the the feasts website.
    —Jeff Ostrowski
    15th Sunday in Ordinary Time (Year C)
    This coming Sunday—13 July 2025—is the 15th Sunday in Ordinary Time (Year C). All the chants have been conveniently assembled and posted at the feasts website. The OFFERTORY, Ad Te Levávi, is particularly beautiful.
    —Jeff Ostrowski
    Music Director Job • $80,000 per year
    Our readers will be interested in this job offering for Music Director at Saint Adalbert’s Basilica, located 40 minutes from where I live. My pastor was recently elevated to this basilica. He is offering $80,000 per year, plus benefits. I’m told Saint Adalbert’s Basilica is utterly gorgeous and contains one of America’s most magnificent pipe organs. It would be fantastic to have a colleague nearby!
    —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

Yet, with all its advantages, the new Missal was published as if it were a work put together by professors, not a phase in a continual growth process. Such a thing never happened before. It is absolutely contrary to the laws of liturgical growth, and it has resulted in the nonsensical notion that Trent and Pius V had “produced” a Missal four hundred years ago.

— Josef Cardinal Ratzinger (1986)

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