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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

Thank You, But Hold the Applause

Richard J. Clark · September 6, 2013

AM NOT SURE HOW AND WHEN it all began, but it has been increasingly common for congregations to applaud at the end of a recessional song or hymn. While this is a very well intended gesture of appreciation for the music ministers, it is indicative of both something right and something not entirely right. A close cousin of this is loud talking in the pews after (or before) mass while others are literally kneeling and trying mightily to pray.

Before I sound too grumpy, there are a few things here that are in the right direction and a few that are not. On the bright side, for someone who used to witness with regularity one third of the congregation disappearing after communion in order to beat the traffic, I am happy to see this practice becoming far less common than it was perhaps a decade or two ago. It is good that people are happy to be at church. It is a very good thing for people to form a close community. This cannot be overlooked with depressing statistics about declining mass attendance. (That is an issue for a dissertation, not a brief blog entry.)

But perhaps in part, the overall decline in mass attendance can be attributed to what is not quite right in this circumstance.

Pope Benedict XVI famously wrote:

“Wherever applause breaks out in the liturgy because of some human achievement, it is a sure sign that the essence of liturgy has totally disappeared and been replaced by a kind of religious entertainment. Such attractiveness fades quickly—it cannot compete in the market of leisure pursuits, incorporating as it increasingly does, various forms of religious titillation.” (The Spirit of the Liturgy, pg. 198-199)

Mass cannot, nor should not compete on a level of entertainment. “Such attractiveness fades quickly.” The mass brings something else entirely different. It is in our very human nature, the need to worship God. Our brains are wired for contemplation. It is within our very soul to connect with the divine. This desire and need is very human. Vatican II states:

“Christ indeed always associates the Church with Himself in this great work (of the liturgy) wherein God is perfectly glorified and men are sanctified. The Church is His beloved Bride who calls to her Lord, and through Him offers worship to the Eternal Father.”(Sacrosanctum Concillium §7)

Take the case of applause at the end of mass. Certainly, everyone understands the expression of such appreciation. However, quite interestingly, the more transformative the music, the less likely there will be applause. The more closely the music is connected with the liturgical action, the more it “adds delight to prayer, fosters unity of minds, or confers greater solemnity upon the sacred rites.” This is turn builds hearts, souls, minds, and a sense of close community.

At the end of a Recessional on Palm Sunday, it would seem very inappropriate to applaud or talk loudly after such a solemn occasion. This is because the people are filled with a deep interior silence that is moved by the transformative power of Jesus’ sacrifice for us all.

Speaking as a musician, it feels very uncomfortable to hear applause. If anything should be applauded, it should be the Eucharist and the Word. Of course, this is silly. As such, applauding music is just as silly. We don’t applaud the lectors or altar servers, greeters, or ushers, etc. Yet, they all serve an important ministry.

Finally, the best way to show appreciation for your music ministers is not through applause — for if there is applause, we have somehow failed to convey a sense of awe and reverence. For music ministers, there is no greater thrill than to hear a congregation singing with full hearts, minds and voices. Still, it is never about us.

Soli Deo gloria!
To God alone the Glory!

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 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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President’s Corner

    Dom Pothier • Photo from 1904
    Dom Paul Cagin, in a 1904 publication (L’oeuvre de Solesmes dans la restauration du chant grégorien) made sure to include a beautiful image of Dom Pothier, the legendary abbot of St-Wandrille. Also shown is a very young Dom André Mocquereau. Auguste Pécoul—considered the spiritual “son” of Abbat Prosper Guéranger of Solesmes—wrote as follows on 24 June 1901: “To forestall any confusion, let us remember that there is just one Gregorian notation—that restored, according to the ancient manuscripts, by the eminent Abbot of Saint-Wandrille, Dom Pothier.” ✠
    —Jeff Ostrowski
    PDF • “3-Voice Motet” (Father De Laet)
    I believe 99% of our readers will recognize this hymn tune. Perhaps Father Edgard De Laet should have called it a ‘hymn’ instead of a ‘motet for three voices’—but he’s technically correct, since MOTET is defined as: “a short piece of sacred choral music, typically polyphonic and unaccompanied.” The even verses are for three voices, as you will see if you download the PDF score at #20245. The odd verses may be song a cappella SATB or unison with organ.
    —Jeff Ostrowski
    PDF Download • “Hymn for 2 Voices”
    Readers who click on this video will see that it starts with verses of the “Pange Lingua” hymn by Saint Thomas Aquinas (d. 1274) arranged for two voices. However, there’s a polyphonic refrain (“Tantum Ergo”) for three voices, taken from Kevin Allen’s Motecta Trium Vocum. If your choir is very small, this piece is for you! You can download the PDF score free of charge—and you can also utilize the rehearsal videos for each individual voice—by navigating yourself to #20323.
    —Jeff Ostrowski

Quick Thoughts

    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
    “Reminder” — Month of January (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. Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —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

“The replies to this committee (of which Mgr Bugnini was the secretary) reveal a desire to reform the liturgy. In what sense? Out of 2,109 responses from bishops, just three expressed the desire to restore Communion under both kinds. There was a sizable demand for limited use of the vernacular, but only one French bishop wanted the entire Mass in French.”

— Fr. Dominic Allain (2019)

Recent Posts

  • Dom Pothier • Photo from 1904
  • PDF Chart • “Plainsong Rhythm”
  • PDF • “3-Voice Motet” (Father De Laet)
  • PDF Download • “Hymn for 2 Voices”
  • (January 2026) • “Children Singing Plainsong”

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