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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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President’s Corner

    PDF Download • “Offertory” for this Sunday
    This coming Sunday, 12 October 2025, is the 28th Sunday in Ordinary Time (Year C). Its OFFERTORY ANTIPHON (PDF) is gorgeous, and comes from the book of Esther, as did the ENTRANCE CHANT last Sunday. Depending on a variety of factors, various hand-missals (all with Imprimatur) translate this passage differently. For instance, “príncipis” can be rendered: King; Prince; Lion; or Fierce lord. None is “more correct” than another. It depends on what each translator wants to emphasize and which source text is chosen. All these pieces of plainsong are conveniently stored at the blue-ribbon feasts website.
    —Jeff Ostrowski
    Why A “Fugue” Here?
    I believe I know why this plainsong harmonizer created a tiny fugue as the INTRODUCTION to his accompaniment. Take a look (PDF example) and tell me your thoughts about what he did on the feast of the Flight of Our Lord Jesus Christ into Egypt (17 February). And now I must go because “tempus fugit” as they say!
    —Jeff Ostrowski
    “Reminder” — Month of October (2025)
    Those who don’t sign up for our free EMAIL NEWSLETTER miss important notifications. Last week, for example, I sent a message about this job opening for a music director paying $65,000 per year plus benefits (plus weddings & funerals). Notice the job description says: “our vision for sacred music is to move from singing at Mass to truly singing the Mass wherein … especially the propers, ordinaries, and dialogues are given their proper place.” Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —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

An Indult of the “Commission for Russia” (25 November 1929) authorizes Bishops and Administrators Apostolic in Russia to permit the celebration of Mass and the reception of Holy Communion in the afternoon or evening, on condition that a Eucharistic fast of four hours from noon be observed.

— Sacred Congregation of Rites, 25 nov 1929

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