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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

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

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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

    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

“The council did not say Latin should be abolished. It said Latin should be used. […] While at Ecclesia Dei, I once received a letter from a chancery office in the United States, asking me if I didn’t know that the council had abolished Latin!”

— Cardinal Mayer, Prefect (1985–1988) of the Vatican’s Congregation for Divine Worship

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