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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

Taste Like Salt

Andrew R. Motyka · July 24, 2013

esterday, I was sitting at the dance studio, waiting for my daughters to be done with their ballet lessons, when I overheard two women in the common area speaking about work. The two of them presumably worked together, and did something like social work or early intervention home visits. All I know is that they were badmouthing their clients and complaining about all of the people and children (!) with whom they spend time. I was quite annoyed, as I found it very unprofessional, and a horrible example. I thought, “What if people overheard me talking like that about the people with whom I work?” Actually, that’s not a bad thing to consider.

My wife, Julie, frequently says that being married to me is like being a celebrity, without any of the perks of being a celebrity. What she means is that she gets recognized everywhere she goes (or at least, she used to when we lived in a small town), and she doesn’t necessarily recognize the person with whom she is speaking. I’ve noticed this, too. People pretty often say to me, “Hey, you’re the music guy, right?”

I’ve also noticed that people have assumptions about my behavior that may or may not be based on my reputation. For example, I once cursed during a choir rehearsal (not at the choir, mind you; for all my flaws, I have never in my life even yelled at a choir). I’m sure it was part of a joke or something, but the members’ eyes got very wide. I could see, “Swearing? Andy swears? I thought he was a professional Choir Boy!”

Actually, I curse far more than I should. It’s been a terrible habit for a long time. But the choir doesn’t realize that. They, and most of the other parishioners, only see me in one context: at Mass, trying to worship and help others to worship as reverently and beautifully as possible. There’s the rub: like it or not, I am an example. No, no one’s individual faith is going to be destroyed because I swore that one time (goodness, I hope not, else I’d be single-handedly responsible for countless damnations). However, there is such a thing as giving scandal, and he behavior of those who are associated with the Church stands out.

Now, this is something that we should all be concerned with as Christians: we are the Light of the World, Salt of the Earth, City of God. One of many lessons we’ve learned from the Abuse Crisis is that the Church should (rightfully) be held to a higher standard. But, like it or not, when you work for the Church, people see you differently than if you hold a strictly secular profession. Tough luck. That’s life.

On that note, please pray for your priests. If I, doing what little I do to build up the Church, feel a bit of pressure in watching my behavior, how much more so do the priests who are on the front lines of the spiritual battle? My burden is extremely light compared to theirs.

Yesterday’s encounter at the dance studio reminded me that people are always watching and always listening. Sometimes our state in life means that more people are watching and listening more than we are comfortable with. Not that we need another motivation to live holy lives, but this is one more reason to think before you speak or act.

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

    Liturgical Round (“Canon”) in C-Major
    Those who direct children’s choirs are always on the lookout for repertoire that’s dignified, inspired, and pleasing—yet still within reach of young choristers. Such directors will want to investigate this haunting liturgical round (PDF download) which has been married to the KYRIE from Mass VI (EDITIO VATICANA). I have provided an accompaniment, but it’s only for use during rehearsal; i.e. when teaching this round to your choristers. I also provided an organ accompaniment for the KYRIE—which some know by its trope (Kyrie Rex Genitor)—so that your congregation can take part when this round is used as a choral extension during Mass.
    —Jeff Ostrowski
    Latin Liturgy Association
    We note with pleasure that Mrs. Regina Morris, president of the Latin Liturgy Association, has featured—on page 4 of Volume CXXIX of their official newsletter—the three (3) terrific versions of the Stations of the Cross found in the Brébeuf Hymnal. One of the main authors for the blog of the Church Music Association of America said (6/10/2019) about this pew book: “It is such a fantastic hymnal that it deserves to be in the pews of every Catholic church.”
    —Corpus Christi Watershed
    “Music List” • 28th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 12 October 2025, which is the 28th Sunday in Ordinary Time (Year C). If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are conveniently stored at the dazzling feasts website alongside the official texts in Latin.
    —Jeff Ostrowski

Quick Thoughts

    New Bulletin Article • “12 October 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 12 October 2025) talks about an ‘irony’ or ‘paradox’ regarding the 1960s switch to a wider use (amplior locus) of vernacular in the liturgy.
    —Jeff Ostrowski
    “American Catholic Hymnal” (1991)
    The American Catholic Hymnal, with IMPRIMATUR granted (25 April 1991) by the Archdiocese of Chicago, is like a compendium of every horrible idea from the 1980s. Imagine being forced to stand all through Communion (even afterwards) when those self-same ‘enlightened’ liturgists moved the SEQUENCE before the Alleluia to make sure congregations wouldn’t have to stand during it. (Even worse, everything about the SEQUENCE—including its name—means it should follow the Alleluia.) And imagine endlessly repeating “Alleluia” during Holy Communion at every single Mass. It was all part of an effort to convince people that Holy Communion was historically a procession (which it wasn’t).
    —Jeff Ostrowski
    “Canonic” • Ralph Vaughan Williams
    Fifty years ago, Dr. Theodore Marier made available this clever arrangement (PDF) of “Come down, O love divine” by P. R. Dietterich. The melody was composed in 1906 by Ralph Vaughan Williams (d. 1958) and named in honor of of his birthplace: DOWN AMPNEY. The arrangement isn’t a strict canon, but it does remind one of a canon since the pipe organ employs “points of imitation.” The melody and text are #709 in the Brébeuf Catholic Hymnal.
    —Jeff Ostrowski

Random Quote

“No official approbation is required for hymns, songs, and acclamations written for the assembly.”

— Statement by the “Bishops’ Committee on the Liturgy” (10-NOV-1996)

Recent Posts

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  • PDF Download • Liturgical Round (“Canon”) for your Children’s Choir
  • Latin Liturgy Association
  • Important Quote by a Church Musician

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