• Skip to primary navigation
  • Skip to main content
  • Skip to primary sidebar

Corpus Christi Watershed

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.”

  • Donate
  • Our Team
    • Our Editorial Policy
    • Who We Are
    • How To Contact Us
    • Sainte Marie Bulletin Articles
    • Jeff’s Mom Joins Fundraiser
  • Pew Resources
    • Brébeuf Catholic Hymnal
    • Jogues Illuminated Missal
    • Repository • “Spanish Music”
    • KYRIALE • Saint Antoine Daniel
    • Campion Missal, 3rd Edition
  • MUSICAL WEBSITES
    • René Goupil Gregorian Chant
    • Noël Chabanel Psalms
    • Nova Organi Harmonia (2,279 pages)
    • Roman Missal, 3rd Edition
    • Catechism of Gregorian Rhythm
    • Father Enemond Massé Manuscripts
    • Lalemant Polyphonic
    • Feasts Website
  • Miscellaneous
    • Site Map
    • Secrets of the Conscientious Choirmaster
    • “Wedding March” for lazy organists
    • Emporium Kevin Allen
    • Saint Jean de Lalande Library
    • Sacred Music Symposium 2023
    • The Eight Gregorian Modes
    • Gradual by Pothier’s Protégé
    • Seven (7) Considerations
Views from the Choir Loft

Saint Cecilia and Why the Word is Preeminent

Richard J. Clark · November 22, 2013

N THIS SAINT CECILIA DAY, I confront a challenge most liturgical musicians face: the battle between the Word and musical “feel.” While, they are in not mutually exclusive, one is always a priority. This battle often includes sacred music as entertainment versus prayer.

The musical experience is highly subjective. I often compare listening to music to looking in a mirror. Each person may look at the same mirror, but each sees something different: themselves. Music, like a mirror, reflects what is inside each of our hearts. We hear the same thing, but feel differently despite having the same experience. Hence it is impossible to please everyone. (N.B.: No artist should ever try to please everyone—and arguably no one—regardless of the medium. Doing so almost always results in worthless art.)

So in liturgical music what do we rely upon? The Word. Why? One simple notion perhaps tells us so well: Jesus was the Word made flesh. (John 1:14: “And the Word became flesh, and dwelt among us, and we saw His glory, glory as of the only begotten from the Father, full of grace and truth.”) Is it that simple? Perhaps, yes. Consider that Jesus was not the “Feelings made flesh”, nor the “Emotion made flesh” that came to dwell among us. Certainly, He was not the “Good Vibes made flesh.” Jesus was the Word Incarnate and all the beauty, truth, and challenge that came with it.

Likewise, at mass, we have the “Liturgy of the Word” not the “Liturgy of Easy Going Thoughts.” The scriptures are, more often than not, challenging. Our forebears suffered greatly, often death, for our faith. Jesus confronts nearly everyone head on—his own disciples, his followers, the religious leaders and the government. He indeed brought about division. Jesus was very direct to the point of sounding cold when describing the personal challenge of being one of his disciples.

HAT THE WORD IS PREEMINENT in liturgical music comes as a surprise to many. This must be true even if planning hymns and songs. They must be chosen, not to emphasize “themes” or “moods”, but to reinforce the Word. That this is surprising to some is indicative of how far afield liturgical music has come from its purpose and intent: to sing the mass, and hence the scriptures—the Word. Historically, the sung mass is a direct descendant of the Hebrew tradition of singing scriptures. At a bar mitzvah, one does not study to sing a nice song about God. One sings the Torah. To do otherwise would be absurd. This is a simple example, but singing the mass is the liturgical ideal, one perhaps surrounded by many emotional barriers. It is a shift in contemporary thinking to prioritize the dialogues, acclamations, antiphons, etc. — all of which have prescribed texts.

Some may argue that this sounds cold. Not at all. From the Word, emanates a life: all that is love, all that is beauty, all that is sacrifice and service to God. As John 15: 5 states, “I am the vine, you are the branches.” The Word is the vine. In joy and in love, we are the branches sent out into the world to serve.

As musicians it is also our responsibility to express the Word with great passion, emotion, dignity, prayerfulness, and reverence. In giving glory to God, we in turn serve each other well.

AINT CECILIA PRAYED that she “not be confounded.” May our prayer be that we express the Word as God intends, and in doing so, while at times we struggle, we may not be confounded!

“Playing the organ, Cecilia chanted to the Lord, saying: Let my heart be made spotless, so that I may not be confounded.” – Vespers Antiphon for the Feast of St. Cecilia, November 22

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

Filed Under: Articles Tagged With: Propers, Saint Cecilia, Singing the Mass Last Updated: January 1, 2020

Subscribe

It greatly helps us if you subscribe to our mailing list!

* indicates required

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).

Primary Sidebar

Corpus Christi Watershed

President’s Corner

    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) 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
    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
    “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

    “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
    Did they simplify these hymn harmonies?
    Choirs love to sing the famous & splendid tune called “INNSBRUCK.” Looking through a (Roman Catholic) German hymnal printed in 1952, I discovered what appears to be a simplified version of that hymn. In other words, their harmonization is much less complex than the version found in the Saint Jean de Brébeuf Hymnal (which is suitable for singing by SATB choir). Please download their 1952 harmonization (PDF) and let me know your thoughts. I really like the groovy Germanic INTRODUCTION they added.
    —Jeff Ostrowski

Random Quote

“…it would be a very praiseworthy thing and the correction would be so easy to make that one could accommodate the chant by gradual changes; and through this it would not lose its original form, since it is only through the binding together of many notes put under short syllables that they become long without any good purpose when it would be sufficient to give one note only.”

— Zarlino (1558) anticipating the Medicæa

Recent Posts

  • The Real Miracle of Gregorian Chant
  • Why A “Fugue” Here?
  • “Three Reasons To Shun Bad Hymns” • Daniel B. Marshall
  • “Puzzling Comment” • By A Respected FSSP Priest
  • New Bulletin Article • “12 October 2025”

Subscribe

Subscribe

* indicates required

Copyright © 2025 Corpus Christi Watershed · Isaac Jogues on Genesis Framework · WordPress · Log in

Corpus Christi Watershed is a 501(c)3 public charity dedicated to exploring and embodying as our calling the relationship of religion, culture, and the arts. This non-profit organization employs the creative media in service of theology, the Church, and Christian culture for the enrichment and enjoyment of the public.