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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

Sacred Music and The New Evangelization

Richard J. Clark · September 11, 2013

R. WILLIAM MAHRT REMINDS US that the Second Vatican Council “gave music, of all the arts, the most central position in the liturgical action.” (The Musical Shape of the Liturgy. Pg. 61) In other words, Vatican II reaffirmed the unique function of music within the sacred liturgy:

“Therefore sacred music is to be considered the more holy in proportion as it is more closely connected with the liturgical action…” (Sacrosanctum Concillium § 112)

While liturgical action is the guiding dynamic of sacred music’s implementation, the Word shapes the creation of this music. These are wholly countercultural realities: the Word and the liturgical action as the driving forces of music. As such, truly sacred liturgical music possesses a function—a responsibility—that is quite different from music of secular society and also of some religious denominations. Sadly, it also differs substantially from common liturgical practice in the Roman Catholic Church today. This is worth examining in light of music’s role in evangelization.

We are all familiar with the secularization of sacred music, not simply in style, but most importantly in its primary function and purpose: to make us feel good, to infuse energy or emotion, to express ourselves and our own feelings. These are not bad things in and of themselves. In fact, they are quite good and may even inspire deep devotion and inspiration. However, there must be an understanding of time (or timelessness) and place. The liturgical purpose of true sacred music is what sets it apart from the rest of the world, and hence, why divine worship is wholly transformative when music is wedded both to the Word and to the liturgical action. This is what makes music sacred—set apart from the world and “set aside” for the liturgy.

The musical tradition of the universal Church is a treasure of inestimable value, greater even than that of any other art. The main reason for this pre-eminence is that, as sacred song united to the words, it forms a necessary or integral part of the solemn liturgy. (Ibid)

F THE CURCH WERE TO RECLAIM the proper role and function of its very own music, it would go a long to way to repossessing the deeply influential significance of the liturgy in our everyday lives. In turn, this would most compellingly and powerfully foster evangelization. Acquiescence to secular culture or even to American religious culture in order to fill the pews is shortsighted. For those of us lost and craving a true presence of God in our lives, the mass, our greatest prayer, is the rock and foundation. It is the way to evangelization.

The New Evangelization describes the work of the Church as “…to bring all people into relationship with God, and also to transform and sanctify the society in which we live.” (U.S. Catholic bishops, Disciples Called to Witness: The New Evangelization).

HE MASS IS WHERE WE FOSTER OUR RELATIONSHIP WITH GOD and as a result, with each other. As such, it is not overstated in the least that the mass is the most important work of the Church. It strengthens us to go out into the world to do the work of the Gospel. Therefore, it is no trivial matter to love the liturgy, to love the Word and to love the music to which it is wedded. If our work in sacred music is for the Glory of God alone, we are called to not only “preserve and foster sacred music with great care” as urged by Vatican II, but we are also called to evangelize through sacred music. Why? Because music, in no small, part nurtures our prayer and therefore our relationship with God and with each other.

THE WORD, MUSIC, AND HOW WE LIVE OUT OUR LIVES are all connected. For those of us charged with shaping lives through music, let us not forget this responsibility. Furthermore, let us also pray for our pastors—the shepherds of the faithful who support musicians of sacred music. Their jobs are not easy, as they are responsible for more than most any person would dare to take on. Pray that they have the wisdom, courage, and foresight to support true scared music—music that is wedded to the Word, wedded to the liturgical action, and therefore wedded to our prayer.

We pray for all of this so that we may go forth and evangelize.

John 15: 16: “It was not you who chose me, but I who chose you and appointed you to go and bear fruit that will remain.”

Opinions by blog authors do not necessarily represent the views of Corpus Christi Watershed.

Filed Under: Articles Tagged With: Evangelization 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

    2-Voice Arrangement for Lent
    Those seeking a two-voice arrangement for LENT and PASSIONTIDE should click here and scroll down. It’s based on number 775 in the Brébeuf Hymnal, with an enchanting melody written by Kevin Allen (the legendary American composer of sacred music). That text—“Pendens In Crucis Cornibus”—is often used for the Feast of our Lady of Sorrows. That link is important because, in addition to the musical score, it provides free rehearsal videos for each individual voice: something volunteer choirs appreciate!
    —Jeff Ostrowski
    “Sanctus VIII” • Organ Accompaniment
    A few days ago, I composed this organ harmonization for SANCTUS VIII. This Mass is traditionally called Missa de ángelis or “Mass of the angels.” In French, it is Messe de Anges. You can evaluate my attempt to simultaneously accompany myself on the pipe organ (click here) while singing the melody. My parish is currently singing this setting.
    —Jeff Ostrowski
    Music List • (5th Sund. Ordinary Time)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for this coming Sunday, 8 February 2026, which is the 5th Sunday in Ordinary Time (Year A). If such a thing interests you, feel free to download it as a PDF file. You will probably notice it isn’t as ‘complete’ or ‘spiffy’ as usual, owing to some difficulties which took place this week.
    —Jeff Ostrowski

Quick Thoughts

    “Reminder” — Month of Febr. (2026)
    On a daily basis, I speak to people who don’t realize we publish a free newsletter (although they’ve followed our blog for years). We have no endowment, no major donors, no savings, and refuse to run annoying ads. As a result, our mailing list is crucial to our survival. It couldn’t be easier to subscribe! Just scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski
    PDF Chart • “Plainsong Rhythm”
    I will go to my grave without understanding the lack of curiosity so many people have about the rhythmic modifications made by Dom André Mocquereau. For example, how can someone examine this single sheet comparison chart and at a minimum not be curious about the differences? Dom Mocquereau basically creates a LONG-SHORT LONG-SHORT rhythmic pattern—in spite of enormous and overwhelming manuscript evidence to the contrary. That’s why some scholars referred to his method as “Neo-Mensuralist” or “Neo-Mensuralism.”
    —Jeff Ostrowski
    PDF • “O Come All Ye Faithful” (Simplified)
    I admire the harmonization of “Adeste Fideles” by David Willcocks (d. 2015), who served as director of the Royal College of Music (London, England). In 2025, I was challenged to create a simplified arrangement for organists incapable of playing the authentic version at tempo. The result was this simplified keyboard arrangement (PDF download) based on the David Willcocks version of “O Come All Ye Faithful.” Feel free to play through it and let me know what you think.
    —Jeff Ostrowski

Random Quote

“There are no hymns, in this sense, till the fourth century; they were not admitted to the Roman office till the twelfth. No Eastern rite to this day knows this kind of hymn. Indeed, in our Roman rite we still have the archaic offices of the last days of Holy Week and of the Easter octave, which—just because they are archaic—have no hymns.”

— Adrian Fortescue (25 March 1916)

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