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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

Does Having Children Make Us Better at Our Jobs?

Richard J. Clark · April 12, 2013

HERE IS LIFE B.C. and A.C. – “Before Children” and “After Children.” To be a musician, full-time or not, brings with it an alternative lifestyle and schedule. My professional life “B.C.” was certainly devoted almost exclusively to being the best musician that I could be. It was important that I seized the opportunities to grow and learn at every moment. I was involved in all kinds of music, not just sacred music. The world was full of possibilities and I had several avenues to pursue.

It’s also important to note that by nature I am NOT a morning person. 11pm and beyond were my peak hours for practice, composing, songwriting, and recording. Although living on the East Coast, it is safe to say my hours were consistent with the Hawaiian time zone.

I vowed to myself not to get married before the age of 30 (which I accomplished rather easily), but upon meeting the love of my life, I couldn’t get married fast enough.

Meanwhile, at my full-time job at St. Cecilia Parish (where I have been employed since the age of 20), not having children afforded me the opportunity to develop the music programs in what was a dying parish. Then nearly ten years ago the scope of my job changed drastically. We had a new pastor, merged with another parish, and a few years later, were the welcoming parish for yet another closed parish. Putting in about 60 or more hours per week (more or less doing the work of two to three parishes by myself), these mergers demanded a great deal of pastoral sensitivity, and exponentially more administrative work. For some years, I was constantly on the fence of whether to stay or to leave this job, but I felt I had to stay and see this process through. (I am glad I did, as I have been greatly blessed through it all.)

However, during this critical juncture in the life of our parish, I never could have handled this workload if I had children. Ironically, working in ministry for the Church is often not conducive to family life. Working nights and weekends away from family, often for low pay makes having children in the picture difficult. (This also gives perspective to the unmarried state of religious life.)

Then the light of my life, my daughter, was born; two years later, the other light of my life, my son, was born.

Life “A.C.” is very different. My job no longer comes first. (A must read on this topic is by Andrew Motyka: The Church Music Director: Job or Vocation?) I am no longer available to put in flexible unlimited amount of hours. When running rehearsals in the evening, I am often having difficulty concentrating, given that my son makes sure we are always awake by 5 am. While also directing three different choirs every Sunday and responsible for a dozen or so liturgies per week, I am often scattered, occasionally irritable when I need to be cheerful with volunteers, and all too often produce embarrassing typos on worship aids and concert programs. (My favorite typo was: Psalm 33:4: “Uptight is the word of the Lord.” Oops.) Since having children, there are days when I feel overwhelmed, that I have failed my choir(s), have been less than charitable when I need to be, and I have failed the standards of my profession. In a profession that requires work on holidays, weekends, and evenings, the tension between family and job is one I struggle with every day. To be fully present to my children and being a dad means placing even more limits on my professional life. But sometimes, that choice too is out of my hands. But this is the life I have chosen and I would not have it any other way.

So how could having children possibly make me better at a job? Parenthood certainly has gotten me closer in touch with failure and feeling out of control. Since having children my life is no longer my own. Perhaps this is the key to faith.

At my son’s baptism, I held my two-year-old daughter in my arms during the Rite. I was exhausted as all new parents are. I knew the words were coming, but when I heard them, it hit me like a ton of bricks—now emblazoned in my memory and in my heart: “I claim you for Christ.” I felt the profundity of the choice parents make for their children, that God will be the center of our family.

In my children, I found God. I found God in my family, and not just at church, and not just in my professional life as a church musician. Perhaps this is what I personally needed, (and not to judge that this is what everyone needs.) Children have helped me focus on what and who is important.

Hopefully, I am more patient than I used to be. I laugh now when a child cries or screams during the pianissimo section of Bruckner’s “Pange Lingua”. Or when a parent is changing a diaper on the stairs to the choir loft, I tell them not to worry — I understand! But those are very little things. Often the words of St. Bernard of Clairvaux, “Quid Hoc ad Aeternitatem?” come to mind. “What does this mean for eternity?” While life as a parent is far more scattered, my internal prayer life and my focus on what truly matters has a little bit more clarity than it used to. Hopefully my relationship with the people I serve has improved. I don’t know, but I certainly hope so, and I pray it has.

I found God in my family, and no matter what the daily struggles, I am left with a profound sense of gratitude to be the luckiest man alive.

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 • (Palm Sunday, 2026)
    Readers have expressed interest in seeing the ORDER OF MUSIC I created for Palm Sunday—a.k.a. “Dominica in palmis de Passione Domini”—which is 29 March 2026. Please feel free to download it as a PDF file if such a thing interests you. The OFFERTORY (Impropérium exspectávit cor meum) is quite moving. Even though the COMMUNION ANTIPHON is relatively simple, the Fauxbourdon makes it sound outstanding.
    —Jeff Ostrowski
    Easter • Would You Sing This Hymn?
    He who examines Laudes Dei: a hymnal for Catholic congregations (St. Louis, 1894) will discover this pairing of a hymn for Easter. For the record, this isn’t the only Catholic hymn book to marry that text and melody; e.g. Saint Mark’s Hymnal for Use in the Roman Catholic Church in the United States (Peoria, 1910) does the same thing. Sometimes an unexpected pairing—chosen with sensitivity—can be superb, forcing singers to experience the text in a ‘fresh’ and wonderful way. On the other hand, we sometimes encounter something I’ve called “PERNICIOUS HYMN PAIRINGS.” If you find the subject in intriguing, feel free to peruse an article I published in May of 2023. As always, my email inbox is open if you have a bone to pick with my take.
    —Jeff Ostrowski
    Pipe Organ “Answers” in Plainsong?
    In 2003, I copied a book by Félix Bélédin (d. 1895), who was titular organist—from 1841 to 1874—at the Cathedral of Saint John the Baptist in Lyon (France). In 2008, we scanned and uploaded the book to the Lalande Online Library. Nobody knows for sure when the book was published; some believe it first appeared in the 1840s. In any event, one who examines this excerpt, showing GLORIA IX might wonder why it says the organ answers in plainsong. However, the front of the book explains, telling the organist explicitly when to “respond in plainchant.” This is something called organ alternatim. Believe it or not, the pipe organ would take turns with the choir, playing certain texts instrumentally instead of having them sung. I’m not very well-versed in this—pardon the pun—but if memory serves, ORGAN ALTERNATIM was frowned upon by the time of Pope Saint Pius X. Nevertheless, French organists kept doing it, even after it was explicitly condemned as an abuse.
    —Jeff Ostrowski

Quick Thoughts

    “Gregorian Chant Quiz” • 24 March 2026
    How well do you know your Gregorian hymns? Do you recognize the tune inserted into the bass line on this score? For many years, we sang the entire Mass in Gregorian chant—and I mean everything. As a result, it would be difficult to find a Gregorian hymn I don’t recognize instantly. Only decades later did I realize (with sadness) that this skill cannot be ‘monetized’… This particular melody is used for a very famous Gregorian hymn, printed in the LIBER USUALIS. Do you recognize it? Send me an email with the correct words, and I promise to tell everybody I meet about your prowess!
    —Jeff Ostrowski
    PDF Download • “Ubi Caritas” (SATB)
    I remember singing “Ubi Cáritas” by Maurice Duruflé at the conservatory. I was deeply moved by it. However, some feel Duruflé’s version isn’t suitable for small choirs since it’s written for 6 voices and the bass tessitura is quite low. That’s why I was absolutely thrilled to discover this “Ubi cáritas” (SATB) for smaller choirs by Énemond Moreau, who studied with OSCAR DEPUYDT (d. 1925), an orphan who became a towering figure of Catholic music. Depuydt’s students include: Flor Peeters (d. 1986); Monsignor Jules Van Nuffel (d. 1953); Arthur Meulemans (d. 1966); Monsignor Jules Vyverman (d. 1989); and Gustaaf Nees (d. 1965). Rehearsal videos for each individual voice await you at #19705. When I came across the astonishing English translation for “Ubi Cáritas” by Monsignor Ronald Knox—matching the Latin’s meter—I decided to add those lyrics as an option (for churches which have banned Latin). My wife and I made this recording to give you some idea how it sounds.
    —Jeff Ostrowski
    PDF Download • “Holy, Holy, Holy”
    For vigil Masses on Saturday (a.k.a. “anticipated” Masses) we use this simpler setting of the “Holy, Holy, Holy” by Monsignor Jules Vyverman (d. 1989), a Belgian priest, organist, composer, and music educator who ultimately succeeded another ‘Jules’ (CANON JULES VAN NUFFEL) as director of the Lemmensinstituut in Belgium. Although I could be wrong, my understanding is that the LEMMENSINSTITUUT eventually merged with “Catholic University of Leuven” (originally founded in 1425). That’s the university Fulton J. Sheen attended.
    —Jeff Ostrowski

Random Quote

“Worse, composers are now setting the introits of the missal [instead of the Graduale] to music, even to chant, though these texts were explicitly for spoken recitation only.”

— ‘Dr. William Mahrt (Fall, 2015)’

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