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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

Making Your Bed

Andrew R. Motyka · July 17, 2013

ountless gallons of ink have been spilled regarding a topic that has been under discussion over at the Musica Sacra Forums: How do we “convert” people to the Church’s way of thinking about sacred music? What is the most effective way to introduce to and educate the average Catholic in why our goals are so lofty?

Last week, I used an example from one of my friends in graduate school. When we were studying for comprehensive exams, he in political science and I in sacred music, we got together and explained major topics to one another, thinking that if we could explain the material to each other, we would have no trouble writing about it in an exam.

When I was running through the basic principle of “lex orandi, lex credendi,” (the law of prayer is the law of belief), he had yet another anecdote from his military experience to help clarify. He said, “if you tell a new recruit to make his bed, he’ll ask why. If you make him make his bed every day for three months, he’ll never ask again.” Some would call that brainwashing; I’ll call it formation. Something that becomes a part of your life needs no explanation. That principle brought me further in my understanding of reverent worship than any academic study ever did.

Before I entered school for sacred music, I just wanted to direct music in church. I was used to playing the piano, and I wanted to Revolutionize the World by introducing more instruments, like the saxophone, guitar, and drums, thinking, “That’s what the Church really needs.” I was speaking from my own experience. I loved playing the piano at Mass, and so that was what I thought needed to be done.

To be sure, I did plenty of study of the Church’s teaching on the liturgy, and her norms on music, but even as my views started to come around, my thinking was more along the lines of, “Chant and polyphony are beautiful, but are an unreachable pie-in-the-sky.” It wasn’t until I got into a parish and tried to use a piece of more solemn repertoire that I realized that not only was it possible, it was much more conducive to worship. A few years later, as I became more involved with the CMAA, I attended their Colloquium. Seeing other musicians that were dedicated to good music in liturgy energized me, and I tried even harder to reach for the next level. In short order, I had a small country parish with a Gregorian Chant schola, a choir that could sing polyphony surprisingly well for amateurs, and almost all of the propers, in some form, at every Mass. What happened?

Of course, as these things were implemented, I wrote small articles for the bulletin and gave explanations for what was happening. The most effective way for people to “get it,” though, was just by doing it. When people saw and heard the results, they were convinced. They had little use for technical explanations when they could just clearly experience the reverence.

There will be naysayers. They’ll be there no matter what approach you take. Winning the hearts and minds of those who will listen, though, is simpler than you think. The way to change the culture is not to shock them by changing everything at once, but little by little, just work it in. Do a piece here or there. Throw together a schola for an event that you have a lot of time to prepare. Do everything well. By the time you write a long article about why you’re doing what you’re doing, the people won’t even need it.

Make the bed. Most of the time, people won’t even need to ask why.

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 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

    New Bulletin Article • “21 September 2025”
    My pastor requested that I write short articles each week for our parish bulletin. Those responsible for preparing similar write-ups may find a bit of inspiration in these brief columns. The latest article (dated 21 September 2025) discusses some theological items—supported by certain verses in ancient Catholic hymns—and ends by explaining why certain folks become delirious with jealousy when they observe feats by Monsignor Ronald Knox.
    —Jeff Ostrowski
    Cheap! Cheap! Cheap!
    It’s always amusing to see old diocesan newspapers—in huge capital letters—advertising the Cheapest Catholic Paper in the United States. The correspondent who sent this to me added: “I can think of certain composers, published by large companies in our own day, who could truthfully brag about the most tawdry compositions in the world!” I wonder what she could have meant by such a cryptic comment…
    —Jeff Ostrowski
    PDF Download • Dom Murray Harmonies
    Along with so many others, I have deep respect for Dom Gregory Gregory Murray, who produced this clever harmonization (PDF) of “O SANCTISSIMA.” It’s always amazed me that Dom Gregory—a truly inspired composer—was so confused when it came to GREGORIAN CHANT. Throughout his life, he published contradictory statements, veering back-and-forth like a weather vane. Toward the end of his life, he declared: “I see clearly that the need for reform in liturgical music arose, not in the 18th and 19th centuries, but a thousand years earlier—in the 8th and 9th centuries, or even before that. The abuses began, not with Mozart and Haydn, but with those over-enthusiastic medieval musicians who developed the elaborate and flamboyant Gregorian Chant.”
    —Jeff Ostrowski

Quick Thoughts

    Karl Keating • “Canonization Questions”
    We were sent an internet statement (screenshot) that’s garnered significant attention, in which KARL KEATING (founder of Catholic Answers) speaks about whether canonizations are infallible. Mr. Keating seems unaware that canonizations are—in the final analysis—a theological opinion. They are not infallible, as explained in this 2014 article by a priest (with a doctorate in theology) who worked for multiple popes. Mr. Keating says: “I’m unaware of such claims arising from any quarter until several recent popes disliked by these Traditionalists were canonized, including John XXIII, Paul VI, and John Paul II. Usually Paul VI receives the most opprobrium.” Mr. Keating is incorrect; e.g. Father John Vianney, several centuries ago, taught clearly that canonizations are not infallible. Archbishop Fulton J. Sheen would be another example, although clearly much more recent than Saint John Vianney.
    —Corpus Christi Watershed
    Vatican II Changed Wedding Propers?
    It’s often claimed that the wedding propers were changed after Vatican II. As a matter of fact, that is a false claim. The EDITIO VATICANA propers (Introit: Deus Israel) remained the same after Vatican II. However, a new set of propers (Introit: Ecce Deus) was provided for optional use. The same holds true for the feast of Pope Saint Gregory the Great on 3 September: the 1943 propers (Introit: Si díligis me) were provided for optional use, but the traditional PROPRIA MISSAE (Introit: Sacerdótes Dei) were retained; they weren’t gotten rid of. The Ordo Cantus Missae (1970) makes this crystal clear, as does the Missal itself. There was an effort made in the post-conciliar years to eliminate so-called “Neo-Gregorian” chants, but (contrary to popular belief) most were retained: cf. the feast of Christ the King, the feast of the Immaculate Conception, and so forth.
    —Corpus Christi Watershed
    Solemn “Salve Regina” (Chant)
    How many “S” words can you think of using alliteration? How about Schwann Solemn Salve Score? You can download the SOLEMN SALVE REGINA in Gregorian Chant. The notation follows the official rhythm (EDITIO VATICANA). Canon Jules Van Nuffel, choirmaster of the Cathedral of Saint Rumbold, composed this accompaniment for it (although some feel it isn’t his best work).
    —Corpus Christi Watershed

Random Quote

To end an impropriety, noticed particularly at orchestral Vespers, when two or three Psalms are sung with full orchestra, and then the other Psalms and the Hymn are rapidly hurried through with organ accompaniment only […] we order that at Mass all portions of the text, including “Agnus Dei,” be sung with orchestral accompaniment. […] Moreover, the musicians are not allowed to put the instruments away and leave their places before the conclusion of the sacred function.

— Cardinal Patrizi (18 November 1856)

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