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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

Richard Sherman and Self-Confidence

Andrew R. Motyka · January 29, 2014

HERE MIGHT NOT BE much overlap between American football fans and sacred music professionals, but I am one point of intersection.

Last Sunday were the Conference Championship games in the NFL, and the biggest story coming out of the NFC Championship was a rant by Seattle Seahawks cornerback Richard Sherman after the game. He let it rip into the camera and yelled at a reporter, taking shots at the opposing teams’ players. Many people, myself included, thought this was bad behavior and even worse sportsmanship, though some of the backlash has been overblown.

One reason it was overblown is that Sherman was approached by the reporter right after the game, which ended on a play in which Sherman himself was the hero. When the reporter interviewed him, he was still completely pumped on adrenaline and machismo which is necessary in these kinds of situations. That he couldn’t just drop that persona is excusable, in my opinion. That he didn’t later regret it is the problem.

I still understand where Sherman is coming from, though. To some degree, we need to pump ourselves up for performance, and like it or not, playing and singing at Mass is a performance. Many people don’t like to think of “performing” at Mass, and I understand that hesitation, but performance is the means by which music is accomplished. You do not mumble, stutter, ruthlessly execute, or even proclaim music. As a performance art, it must be performed. To do this well, you have to be confident.

People who know me well might think that this is strange coming from me. Ask my wife, and she will tell you that I am Captain Insecurity when it comes to organ playing, singing, conducting, literature selection, and even dressing for Mass. I constantly feel underqualified for my position, that I snuck in and no one has realized it yet. When it is time to play, sing, or conduct, however, I have to put on the mask of confidence in myself. I have to pump myself up, just like Richard Sherman does, and believe that I am the Best in the Room. This isn’t arrogance; it’s simply psychological. The choir can’t follow a conductor who meekly gives cues, an organist will not shape phrases if he is worried about his ability, and the singer, most of all, will not be able to sing to the best of his ability if he is not confident in what he is about to do.

The best way to build this confidence, of course, is to become truly excellent at what you do, to practice your craft until you truly are the Best in the Room. There comes a point, though, when bravado takes over, and you have to believe it even if you are like me and constantly worried.

The trick, though, is to put down this facade as soon as you are finished with the piece. When someone approaches me after Mass and compliments the choir’s offertory piece, I don’t continue to beat my chest and act like the diva. It is the time for humility, for “Thank you; this choir is a joy to work with” (which, if you have my choir, is easy to say). That is the time to give thanks to God for what he has given to you, and for the opportunity to serve him in song. Allowing any meekness, faux- or otherwise, to creep into your performance doesn’t serve anyone.

Giving your best in your performance of your job is the only way to do this job. There is no halfway. When the downbeat comes, believe you are capable, relax into your competence, and take command.

It’s the only way to perform.

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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President’s Corner

    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 what each translator wants to emphasize and which source text is chosen. All these pieces of plainsong are conveniently stored at the blue-ribbon feasts website.
    —Jeff Ostrowski
    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 example) 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
    “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

    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

Why do we never sing “De Spiritu Sancto” (St. Athenogenes) in our churches? There are a dozen translations in English verse. Where could anyone find a better evening hymn than this, coming right down from the catacombs? Our hymnbooks know nothing of such a treasure as this, and give us pages of poor sentiment in doggerel lines by some tenth-rate modern versifier.

— Rev’d Adrian Fortescue (d. 1923)

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