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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

That Satisfying Click

Andrew R. Motyka · August 28, 2013

T MAY COME AS A SURPRISE to you, but I am a fairly odd individual. For example, when most people get furniture or other items from places like IKEA, they hate getting home and assembling them. I am the opposite. I truly enjoy putting these things like that together (my wife regularly reminds me that this is one of the best things about being married to me. Aren’t I a catch?). When we bought a new office desk, I stood in the room, with all the boxes unpacked and the components scattered all around me on the floor, and smiled.

One of the things I enjoy most about these experiences is the tangible feedback when you get a part into just the right place. When you get the right peg in the right slot, when you turn the locknut just the right amount, you hear that “satisfying click.” You just know you have it right. You have gotten the right piece in the right place at the right time.

A while back, I was interviewed by a small town newspaper asking what it was about Church music that appealed most to me. Many people would probably respond, “I enjoy praising God,” or “Giving my talents to the Lord is right,” and these are all fine responses with which I agree. However, what truly drew me into music in the liturgy was singing sacred music in its proper context.

I was like most college music majors. I sang in the choir and performed many staples of choral literature. Many of these were sacred pieces. Especially in our chamber singers, we sang many motets and religious songs. I loved them. They were musically satisfying. I didn’t even feel like anything was missing in them.

The first time I sang a motet in the context of the liturgy, I felt it: that satisfying click. I was doing something beautiful, in the right place, at the right time, and for the right reason. Suddenly, the beautiful piece that I had enjoyed so much before took on a totally different dimension. When the song became prayer, it was so much more than I had ever experienced before. My liturgical-musical experience has been marked by that same satisfaction countless times. I am singing (or playing, or conducting) a fitting piece, at the right time, in the right place.

This analogy extends not only in the corporate, but largely into my personal life of faith, too. My relationship with Christ has that same dimension: the grace of God, through prayer and other works, just fits into my life perfectly. It gives that satisfying click.

Here is where the analogy breaks down, though (as all analogies inevitably do). God doesn’t really fit neatly into an instruction booklet like that. He is not the long-awaited straight piece that allows you to finally complete that Tetris. Rather, His grace is more like a viscous ooze that fills all of the holes in which you are missing pieces, with plenty left over in the end.

Maybe it isn’t a satisfying click. Maybe it’s more of a satisfying blorp.

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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