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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

Why We Do What We Do

Richard J. Clark · December 27, 2013

RJC_913_St_John_Apostle_Evangelist St. John the Evangelist, Francesco Furini HAVE PRECIOUS FEW ORIGINAL IDEAS. Today is no exception, drawing in part from a friend’s note and from Andrew Motyka’s post It’s What We Do.

As we wind down from Christmas Eve and Day (only to wind back up again for the glorious Christmas Season) church musicians might ask themselves, why in the world do we do this? What effect do we have on anyone, especially those who only go to mass two or three times per year?

I assure you, plenty. On this Feast of Saint John, Apostle and Evangelist, it is good to reflect upon our calling as ministers of sacred music. As Andrew Motyka states, what we do is “an act of mercy, and as such, my duty as a Christian.”

Beyond making music that is pleasing to the ears, music ministers are called to serve our communities by fostering prayer. In service of the liturgy, sacred music is not simply for ephemeral pleasure (although one hopes it is pleasing!), but more importantly for transformative healing and growth that is enduring. This holds true individually and for the community. This is our hope. This is our call.

I often remind my choirs that they will affect people spiritually in ways that they will never know. While we are fulfilling our duty and our calling, we can assume very little about those around us, even those we think we know pretty well (or those we have judged.) Take time to listen to those around you, and you will be astounded to learn the crosses they may be carrying.

UST AS I HAD BEGUN WRITING this, I received in rather surreal fashion a note from my recording engineer, Evan, that stopped me in my tracks. The subject of his email read: “Why we do what we do.” (Was he reading my mind?) Regarding a collaboration with The Copley Singers and the St. Cecilia Choir in the wake of the tragic Boston Marathon bombing, Evan wrote:

“…my best friend Michael is a seminarian in the Archdiocese of Hartford, and was just ordained a deacon this month. He was assigned to a parish in Litchfield county over the summer, and became close friends with a priest there, who was suffering from leukemia. Michael told me last night that he played for this priest his copy of the Darkness to Light recording we made this spring. The priest would listen to this heavenly music over and over, crying while listening to it. He was brought great comfort through the ministry of this music. He passed away earlier this fall…

“… beyond the funds that were raised for the Boston bombing victims…It brings me great joy to know that a project I took part in has affected the life of another person, especially that of a dying man…”

This is one story we learned about many months after the fact. How about the countless stories we never hear? Sometimes we learn of one story only to remind us this is why we do what we do.

O WHEN WE ENTER THE DOORS of our churches, one never knows what pain, suffering, grief or burdens those among us carry. This is the beauty and the gift of community. When we are unable to pray—when we are distracted, or burdened, or overcome with grief—the community carries us along; the community buoys our spirit and sustains us; the community prays on our behalf. Our voices raised in prayer each week can provide comfort and solace to our brothers and sisters in need. Our very presence at liturgy, along with our spoken and sung prayer, have untold effects on others and can act as a lifeline in ways which we will never know.

“A cry from deep within our being, music is a way for God to lead us to the realm of higher things.” — St. Augustine, Epistoia 166, De origine animae hominis

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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Corpus Christi Watershed

President’s Corner

    Latin Liturgy Association
    We note with pleasure that Mrs. Regina Morris, president of the Latin Liturgy Association, has featured—on page 4 of Volume CXXIX of their official newsletter—the three (3) terrific versions of the Stations of the Cross found in the Brébeuf Hymnal. One of the main authors for the blog of the Church Music Association of America said (6/10/2019) about this pew book: “It is such a fantastic hymnal that it deserves to be in the pews of every Catholic church.”
    —Corpus Christi Watershed
    “Music List” • 28th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 12 October 2025, which is the 28th Sunday in Ordinary Time (Year C). If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are conveniently stored at the dazzling feasts website alongside the official texts in Latin.
    —Jeff Ostrowski
    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 which source text is chosen and what each translator wants to emphasize. All these pieces of plainsong are conveniently stored at the blue-ribbon feasts website.
    —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

In the place of liturgy as the fruit of development came fabricated liturgy. We abandoned the organic, living process of growth and development over centuries, and replaced it—as in a manufacturing process—with a fabrication, a banal on-the-spot product.

— ‘Pope Benedict XVI, describing the postconciliar liturgical reforms’

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