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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

What Hill are You Willing to Die on?

Andrew R. Motyka · January 1, 2014

S SOMEONE CONNECTED with many other music directors, there is a relatively common phenomenon that I witness, especially from those trying to make positive liturgical and musical changes in their parishes. I too often see music directors shooting themselves in the foot by being unyielding in all things. I see this most often among young directors, mainly because the experienced ones have either leaned to avoid this trap or are already working in other fields. Here is an unfortunately common scenario:

A young director, let’s call him Greg, begins a job at a new parish. He is just out of school, and as such, in some of the best musically technical shape of his life. He is on fire for Jesus and His liturgy, and wants nothing but the best to offer to God and his Church. So far, so good. These are all great qualities in any director.

Greg takes a look at the music situation in his parish and cringes a bit. Most of what they have been singing is “contemporary” music (read: composed in the 80s). It is a fairly large parish with a good spread of ages, from children through seniors. Most people in positions of leadership are content with the way music was going with the previous director. No worries; the pastor of the parish (Father Xavier, or Father X) has a similar vision for music and liturgy to Greg’s, and the two meet regularly to discuss where the parish is going to meet the mind of the Church in matters musical.

About six months in, just after Christmas, several choir members drop out. He is simply using “too much Latin,” and they sing a lot of music that “the people don’t know.” Greg sighs. He has only introduced two new hymns since beginning, and the only Latin pieces he has used are very common hymns like Adoro te devote and Pange Lingua. Anything else in Latin has been a choir piece, with a translation provided for the congregation.

A few months later, the pastor calls Greg into his office to talk. Father X has been hearing complaints from people about the music at Mass, and he has been hearing that some of them want to leave the parish for the church across town. He asks Greg if it is possible to use some more “contemporary” music like the parish was using before. He still wants Greg to move the parish in a positive direction, but thinks that the current pace might have been a bit too traumatizing.

Greg feels very strongly against this. He vowed that he would never use the Mass of Creation in a parish, and would sooner be somewhere else than ever have to play some of the songs that were requested. He does handful of the requested literature, but far too soon phases these out. Greg starts looking for a new position a mere 2 years after he began. He doesn’t understand why his vision of the music that the Church asks for at liturgy has been so ineffective.

Here is the question that all directors need to ask themselves: what hill are you willing to die on? If you stand your ground firmly on every battle that comes along, I promise you that your tenure will be short. Now, I am not saying that you should not have a hill on which to die. You need principles, hard ones and soft ones. You need to know where you are willing to put your foot down and say No, and where a bit of flexibility is needed. Many times, this flexibility is only necessary in the short term. You need to gain the parish’s trust, and become a part of them before you can slowly guide them forward.

You also need to ask yourself which is worse: if you pack up and leave the parish immediately, will it quickly slide back into the situation it was in before you left? Have you been making any positive impact at all? Finally, especially newer directors need to understand that shifting the musical and liturgical life of a parish is a marathon, not a sprint. It has taken us nearly 50 years to make some of the musical messes we have today, and it will take quite some time to build it back up again.
There is, of course, a difference between just “going along to get along” and compromising for the greater good. If Greg is willing to sing “You Are Mine” every now and then, the congregation’s tolerance level for Byrd’s Ave Verum will be stronger next time. How is that a loss? If Father X were asking Greg to eliminate parts of the Mass, or sing Alleluias in Lent, it is quite different from throwing the occasional bone so that the overall trajectory of liturgical quality can increase.

This doesn’t mean that we abandon all ideals, or that we fail to recognize what is greater from what is lesser. You may want to start a capital campaign for a new pipe organ in your parish, but all you are offered right now is a digital organ. If all you have is a small piano or electric keyboard, isn’t this at least a step in the right direction? It isn’t ideal, and nothing is stopping you from reaching for that ideal in the long run, but not every struggle needs to be a job-ender. If we figure out for ourselves where we can bend so that we can do greater things overall, in the end the parish will be a better place.

If we pack up and leave every time something goes wrong, the only people left will be those for whom the status quo is fine. That’s not a win for anybody.

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 Andrew R. Motyka

Andrew Motyka is the Archdiocesan Director of Liturgical Music and Cathedral Music for the Archdiocese of Indianapolis.—(Read full biography).

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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

“In chronological order, [Dom Pierre Combe] traces the Gregorian reform from its beginnings under Dom Guéranger in 1833, to the problems of the Vatican Commission on Sacred Music in the first decade of the 20th century. As one reads the topic headings and development of their content, one wonders how such an innocent and un-warlike subject such as Gregorian chant could have been the focal point of such an intense and continuing battle among scholars and churchmen for so many decades.”

— Dr. Theodore Marier (1968)

Recent Posts

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  • “Three Reasons To Shun Bad Hymns” • Daniel B. Marshall
  • “Puzzling Comment” • By A Respected FSSP Priest
  • New Bulletin Article • “12 October 2025”
  • “Reminder” — Month of October (2025)

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