• Skip to primary navigation
  • Skip to main content
  • Skip to primary sidebar

Corpus Christi Watershed

We’re a 501(c)3 public charity established in 2006. We have no endowment, no major donors, no savings, and run no advertisements. We exist solely by the generosity of small donors.

  • Donate
  • Our Team
    • Our Editorial Policy
    • Who We Are
    • How To Contact Us
    • Sainte Marie Bulletin Articles
  • Pew Resources
    • Brébeuf Catholic Hymnal
    • Jogues Illuminated Missal
    • KYRIALE • Saint Antoine Daniel
    • Campion Missal, 3rd Edition
    • Repository • “Spanish Music”
    • Ordinary Form Feasts (Sainte-Marie)
  • MUSICAL WEBSITES
    • René Goupil Gregorian Chant
    • Noël Chabanel Psalms
    • Nova Organi Harmonia (2,279 pages)
    • Roman Missal, 3rd Edition
    • Catechism of Gregorian Rhythm
    • Father Enemond Massé Manuscripts
    • Lalemant Polyphonic
  • Miscellaneous
    • Site Map
    • Secrets of the Conscientious Choirmaster
    • “Wedding March” for lazy organists
    • Emporium Kevin Allen
    • Saint Jean de Lalande Library
    • Sacred Music Symposium 2023
    • The Eight Gregorian Modes
    • Gradual by Pothier’s Protégé
    • Seven (7) Considerations
Views from the Choir Loft

Invest in your Music Program!

Andrew Leung · February 2, 2017

CTL Music and Money OW IMPORTANT is music to the Mass? The answer is: VERY IMPORTANT! Even though music is the “handmaid of the liturgy”, it is probably one of the most important elements of the Mass. The answer and the explanations of the relationship between music and the liturgy can be found in multiple Church documents. But from a different perspective, we can also see its importance from the practice of labelling Masses based on the music: a high Mass, a Low Mass, a traditional Mass, a folk Mass, a Lifeteen Mass, etc. Music plays such an important role in the liturgical life of the Church and it is definitely worth investing in parish music programs. Financial support is necessary for developing a successful parish music program!

Obviously, there are some unavoidable costs for the music department’s budget like missals & hymnals, other music scores, musical instruments, the sound system and the choir robes. But I would like to focus especially on the paid musicians. I don’t think too many people understands what “being a church musician” means. I found that priests, financial managers and Catholic faithful don’t fully know what we, music directors, do. Hiring good musicians is the essential part of building a successful music program. Nowadays, musicians are often being looked down on. But I think good musicians deserve to be treated well and paid fairly.

So what do we actually do? What people see are usually the performances, a tip of the iceberg. What people are paying for is not only the performances, but the many years of training and practicing behind the scene. It can take over ten years for one to master an instrument and the art of music. And even for a professional musician, practices are still crucial in order to maintain high standard of music and to perfect our skills. Many musicians also spend time in developing their musicianship and further learning by joining choirs and ensembles outside of work.

As church musicians, we also dedicate our time in the preparation for each liturgies. We select music carefully every week like how a priest would prepare his homily. A good director would pick the music after reading and praying through the propers and the readings of the Mass. He also has to take into consideration the language, style and level of difficulty of the pieces, and the ability of the choir. A good parish music director would also study the documents and teachings of the Church on sacred music in order to select the appropriate and the most suitable music.

A choirmaster or church organist is usually a person who is very strong mentally. He is used to being judged by others subjectively constantly. It requires great patience and excellent communication skills in order run a parish music program with multiple choirs and ensembles. His job also requires him to stay positive and charitable when mistakes happen. It is a very extraordinary vocation.

Finally, being a church musician is a sacrifice. Most of us don’t get off on holidays. Obviously, Sundays are the busy days, and so as other solemnities. When the church office is close on a feast day, we are the ones who stick around with the clergies and serve at the Mass. And of course, Christmas and Holy Week require us to work extra hard outside of our regular office hours. We also have to be around for random parish events and special liturgies. And funerals never happen at a convenient time and they usually come suddenly with short notice. Being a church musician means that we have to keep a very flexible schedule.

BOVE IS WHAT WE DO! That is the “job description” of many church musicians. Please feel free to share my analysis with your pastors and fellow parishioners, especially those who are on the parish council and finance council. I have seen parishes losing half of its choir members overnight after cutting down the music budget. I have also seen successful programs being built from scratch when sufficient supports are given. Our Lady of the Mountains Roman Catholic Church is a good example. Their story, “There Will Be Blood” – Lessons on Introducing Good Music Into a Parish“, was actually shared on New Liturgical Movement recently.

The parish music program is like a plant. It must be watered regularly in order for the flower to bloom. Likewise, both spiritual and financial supports are essential in order for a parish music program to flourish!

Opinions by blog authors do not necessarily represent the views of Corpus Christi Watershed.

Filed Under: Articles Last Updated: January 1, 2020

Subscribe

It greatly helps us if you subscribe to our mailing list!

* indicates required

About Andrew Leung

Andrew Leung currently serves the music director of Vox Antiqua, conductor of the Cecilian Singers, and music director at Our Lady of China Church.—(Read full biography).

Primary Sidebar

Corpus Christi Watershed

President’s Corner

    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
    “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

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

“The Church has always kept, and wishes still to maintain everywhere, the language of her Liturgy; and, before the sad and violent changes of the 16th century, this eloquent and effective symbol of unity of faith and communion of the faithful was, as you know, cherished in England not less than elsewhere. But this has never been regarded by the Holy See as incompatible with the use of popular hymns in the language of each country.”

— Pope Leo XIII (1898)

Recent Posts

  • Hidden Gem: Ascendit Deus (Dalitz)
  • PDF Download • Soprano Descant — “Hail, Holy Queen Enthroned Above”
  • “Dom Jausions had a skilled hand. His transcriptions are masterpieces of neatness & precision.”
  • Pope Leo XIV pays tribute to Palestrina
  • PDF Download • Palestrina’s “Ave Maria”

Subscribe

Subscribe

* indicates required

Copyright © 2025 Corpus Christi Watershed · Isaac Jogues on Genesis Framework · WordPress · Log in

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.

The election of Pope Leo XIV has been exciting, and we’re filled with hope for our apostolate’s future!

But we’re under pressure to transfer our website to a “subscription model.”

We don’t want to do that. We believe our website should remain free to all.

Our president has written the following letter:

President’s Message (dated 30 May 2025)

Are you able to support us?

clock.png

Time's up