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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.”

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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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Corpus Christi Watershed

President’s Corner

    Liturgical Round (“Canon”) in C-Major
    Those who direct children’s choirs are always on the lookout for repertoire that’s dignified, inspired, and pleasing—yet still within reach of young choristers. Such directors will want to investigate this haunting liturgical round (PDF download) which has been married to the KYRIE from Mass VI (EDITIO VATICANA). I have provided an accompaniment, but it’s only for use during rehearsal; i.e. when teaching this round to your choristers. I also provided an organ accompaniment for the KYRIE—which some know by its trope (Kyrie Rex Genitor)—so that your congregation can take part when this round is used as a choral extension during Mass.
    —Jeff Ostrowski
    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

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

[Let there be:] “The Latin, the whole Latin, and nothing but the Latin.”

— Cardinal McIntyre (one of the Vatican II fathers)

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  • PDF Download • Liturgical Round (“Canon”) for your Children’s Choir
  • Latin Liturgy Association
  • Important Quote by a Church Musician

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