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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

Archbishop Sample’s Letter On Sacred Music (3 of 8)

Andrew R. Motyka · June 18, 2014

RCHBISHOP SAMPLE’S pastoral letter on sacred music has several wonderful passages to consider. While there are many discussions that should, and will, flow forth from this letter, I particularly appreciate the good Archbishop’s description of the qualities of sacred music.

      * *  Archbishop Sample • 2013 Letter (PDF)

When discussing liturgical art in general, and liturgical music in particular, it is easy to fall into thinking that the quality and appropriateness of literature is subjective. Archbishop Sample elucidates the qualities of sacred music in a way that puts the discussion in objective terms. Agreeing on criteria like this is essential if any discussion is to be had about what the Church wants from us in musical worship.

The three criteria shared by the Archbishop are the sanctity, beauty, and universality of music. By sanctity in music, he means the way in which music is executed in the liturgy, in a manner conducive to worship as well as its connection to the ritual itself. Not only should the choice of music be connected to the liturgy, but its performance also needs appropriate reverence. We need to avoid “profanity not only in itself, but in the manner in which it is presented by those who execute it.” Certainly a conversation can take place as to what constitutes “profanity” in music (profane, in this case, being defined as the opposite of sacred), but surely we can agree that turns of music that call to mind secular celebrations and not sacred prayer.

The second criterion, beauty, is the most subjective, but we still have some guidance here. We are called to music that is “true art,” so that it is clear that it has its place in the divine liturgy. The third element for consideration is the universality of sacred music. This is where the most interesting idea comes in, in my opinion. It relates back to the first criterion, the holiness of music, and that holiness transcends culture. Notice that this enculturation refers only to music that is already culturally relevant to worship, not simply all cultural practices to be worked into the liturgy. When cultural practices are connected to worship, they can be Christianized, when appropriate, and brought to the liturgy, provided they also fulfill the first two criteria.

THERE IS MUCH TO BE CONSIDERED in Archbishop Sample’s letter on pastoral music, and it is encouraging that such a musical and liturgical thinker is now so connected to the nation’s most overwhelmingly influential liturgical publishing house. This letter should provide for much consideration and conversation, and hopefully assist all of us in our mission of the worship of God and the edification of the faithful.


This is part of an 8-part series on Archbishop Sample’s historic letter:

FIRST REFLECTION • Jeff Ostrowski

SECOND REFLECTION • Aurelio Porfiri

THIRD REFLECTION • Andrew Motyka

FOURTH REFLECTION • Peter Kwasniewski

FIFTH REFLECTION • Richard Clark

SIXTH REFLECTION • Veronica Brandt

SEVENTH REFLECTION • Fr. David Friel

EIGHTH REFLECTION • Gwyneth Holston

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

Filed Under: Articles Tagged With: Archbishop Alexander K Sample Last Updated: January 1, 2020

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About Andrew R. Motyka

Andrew Motyka is the Archdiocesan Director of Liturgical Music and Cathedral Music for the Archdiocese of Indianapolis.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    “What Martin Luther Said…”
    My pastor asked me to write little columns for the bulletin each week. The article for 20 July 2025 has been posted, and it’s called: “What Luther Said…” Martin Luther (an ex-priest and apostate) was an infamous heretic whose ignorance of JESUS CHRIST was only exceeded by his filthy and disgusting vulgarity.
    —Jeff Ostrowski
    “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

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

“Victoria not only made his professional debut as church organist: he also continued active on the organ bench until the very eve of his death. Indeed, during his last seven years at Madrid (1604-1611) he occupied no other musical post but that of convent organist.”

— Dr. Robert Stevenson (1961)

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