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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

Why We Must Never Fail To Sing Holy Music At Mass

Jeff Ostrowski · March 24, 2013

HOULD WE SING holy, beautiful, dignified, and inspiring sacred music at Mass? Yes, because this is the very least we can do for God. To help illustrate this, I must talk about our daughter Carmen, who just turned two. Look at what God does for children: He forms them so perfectly. Their little bodies know just how to grow from the moment they are conceived (I believe their spinal chords have a lot to do with this).

Reader’s mind: “Wait a minute . . . say what?”

Why do I mention my daughter? Please let me explain. Tonight, as I was reading her bedtime stories, she exhibited more knowledge than ever. She speaks in complete sentences, knows the name of everything, uses the various parts of speech, syntax, grammar, and verb conjugations correctly (for instance, plural vs. singular), knows things we never even taught her, and can repeat any word she hears. Friends, this is marvelous. Our Heavenly Father “programmed” all these things in such a marvelous way. My wife and I did not “create” Carmen: God did. My wife and I are not responsible for the miracle of her little body, which is perfect in every respect down to her little tiny fingernails: God is. While my wife and I are Carmen’s parents, we’re not responsible for creating her perfect parts: eyes, mind, spinal chord, stomach, ears, and so forth. God did that, and (as I have already mentioned) God designed children to slowly learn and grow in a marvelous way. It is simply overwhelming to witness: I apologize that my poor writing skills are unable to do justice to such wonders.

For this reason, we must never say, “I cannot be bothered to spend half an hour studying the music for Sunday’s Mass.” We must never say, “I refuse to spend time preparing the music for the Eucharistic Sacrifice.” We must never say, “It would be unreasonable for God to expect me to actually make an effort to prepare the music at Mass.”

After all, God has already done the hard work!

To make a long story short, when we contemplate God’s wonders, and the daily miracles He works, it becomes easier for us to realize how lazy and complacent we can be when it comes to serving Him.

UPDATE: By the way, Carmen somehow remembers the titles of books she hasn’t seen in months. Why can she pronounce these titles so clearly now, although she has not heard them pronounced in months?

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 Jeff Ostrowski

Jeff Ostrowski holds his B.M. in Music Theory from the University of Kansas (2004). He resides with his wife and children in Michigan. —(Read full biography).

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Corpus Christi Watershed

President’s Corner

    “Sanctus VIII” • Organ Accompaniment
    A few days ago, I composed this organ harmonization for SANCTUS VIII. This Mass is traditionally called Missa de ángelis or “Mass of the angels.” In French, it is Messe de Anges. You can evaluate my attempt to simultaneously accompany myself on the pipe organ (click here) while singing the melody. My parish is currently singing this setting.
    —Jeff Ostrowski
    Music List • (5th Sund. Ordinary Time)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for this coming Sunday, 8 February 2026, which is the 5th Sunday in Ordinary Time (Year A). If such a thing interests you, feel free to download it as a PDF file. You will probably notice it isn’t as ‘complete’ or ‘spiffy’ as usual, owing to some difficulties which took place this week.
    —Jeff Ostrowski
    PDF • “Communion” (5th Sunday in Ordin.)
    The COMMUNION ANTIPHON for this coming Sunday, 8 February 2026—which is the 5th Sunday in Ordinary Time (Year A)—is truly delightful. You can download the musical score completely free of charge. This text will be familiar to altar boys, because it’s PSALM 42. The Feder Missal makes the following claim about that psalm: “A hymn of a temple musician from Jerusalem: he is an exile in a heathen land, and he longs for the holy city and his ministry in the Temple there. The Church makes his words her own.”
    —Jeff Ostrowski

Quick Thoughts

    “Reminder” — Month of Febr. (2026)
    On a daily basis, I speak to people who don’t realize we publish a free newsletter (although they’ve followed our blog for years). We have no endowment, no major donors, no savings, and refuse to run annoying ads. As a result, our mailing list is crucial to our survival. It couldn’t be easier to subscribe! Just scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski
    PDF Chart • “Plainsong Rhythm”
    I will go to my grave without understanding the lack of curiosity so many people have about the rhythmic modifications made by Dom André Mocquereau. For example, how can someone examine this single sheet comparison chart and at a minimum not be curious about the differences? Dom Mocquereau basically creates a LONG-SHORT LONG-SHORT rhythmic pattern—in spite of enormous and overwhelming manuscript evidence to the contrary. That’s why some scholars referred to his method as “Neo-Mensuralist” or “Neo-Mensuralism.”
    —Jeff Ostrowski
    PDF • “O Come All Ye Faithful” (Simplified)
    I admire the harmonization of “Adeste Fideles” by David Willcocks (d. 2015), who served as director of the Royal College of Music (London, England). In 2025, I was challenged to create a simplified arrangement for organists incapable of playing the authentic version at tempo. The result was this simplified keyboard arrangement (PDF download) based on the David Willcocks version of “O Come All Ye Faithful.” Feel free to play through it and let me know what you think.
    —Jeff Ostrowski

Random Quote

“Every experienced choirmaster’s work is founded on the following three axioms: (1) Few boys have a really good natural voice; (2) No boy is able to control his voice and produce good tone without training; (3) Most boys have a good ear, and considerable imitative capacity. It is on the last of these axioms that the choirmaster must begin his work.”

— Sir Richard Runciman Terry (1912)

Recent Posts

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  • “Let the Choir Have a Voice” • Jeff Ostrowski’s Essay on Choral Music in the Catholic Mass

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