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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 Do Priests Care So Much For The Liturgy and Sacred Music?

Guest Author · March 20, 2014

0319_Altar_boys_prep_LG S A NEWLY ORDAINED priest, I am sometimes questioned why priests care so much for the liturgy and sacred music and, especially among the newly ordained, have such a desire for liturgical and musical elements that are authentically Catholic and deeply rooted in tradition. It can be difficult to answer these questions to the fullest extent when they are asked after Mass or in the sacristy. Many people, it would seem, though coming to the priest with goodwill, think that such desires are old-fashioned or nit-picky.

The Second Vatican Council states in its document Presbyterorum Ordinis (the Decree on the Ministry and Life of Priests) that “priests will acquire holiness in their own distinctive way by exercising their functions sincerely and tirelessly in the Spirit of Christ” (no. 13). Here it can be seen that priests (1) have a distinctive way of acquiring holiness and (2) it is obtained by the exercise of their functions. This does not, in any way, reduce the priesthood to mere functionalism. In fact, just the opposite is stated by the council. It is indeed in the exercise of the priest’s function where he can acquire holiness, but not just in his function, but in the sincere and tireless exercise of that function in the Spirit of Christ. This is an important aspect of how the priest can acquire holiness. It must be in the spirit of Christ. Thus, any acquisition of holiness is not for one’s personal gain but rather done in the spirit of Christ which means it is done in charity, humility, etc.

The council fathers also describe that the priest is the one who offers sacrifice. The decree states, “in the mystery of the Eucharistic sacrifice, in which priests fulfill their principal function, the work of our redemption is continually carried out” (no. 13). The document then stresses that this is why the daily celebration of the Mass is recommended. As it has been seen above, the acquisition of priestly holiness is obtained through the exercise of the priest’s function. Now if the priest’s principal function is the celebration of the Eucharistic sacrifice, it would seem logical that the principal way that a priest would obtain perfection is through its celebration. Thus, when looking at priestly spirituality, the Eucharistic celebration is fundamental: perhaps the most fundamental element of all the elements of a priestly spirituality and the desire, therefore, for the worthy and beautiful celebration of the Eucharistic liturgy shows how important this element is to the priest.

In the Eucharist, a priest finds pastoral charity which is the bond of priestly perfection, that is, priestly holiness. Hence, it can be easily stated that the Eucharist is truly the center and source of the life of the priest. The council fathers urge priests then to penetrate ever more intimately through prayer into the mystery of Christ. Thus, from all of this, it can be said that the spirituality of the diocesan priest is first and foremost a Eucharistic spirituality.

ERHAPS BY NOW you have been able to see what I am getting at: the way that priests acquire holiness is by exercising their functions, and exercising them sincerely and tirelessly in the Spirit of Christ. The function of the priest is to offer sacrifice and the principal sacrifice of the Eucharistic sacrifice, the Holy Mass. In this sacrifice, the priest not only acquires holiness but also finds pastoral charity. Thus, why would a priest care so much about the liturgy and sacred music? It is because these are elements of the priest’s principal function and his way of acquiring both holiness and pastoral charity. In caring so much for elements of liturgy and sacred music that are authentically Catholic and deeply rooted in tradition, a priest is doing nothing else but carrying out his principal function in the best way possible: a function that will ultimately help him get to Heaven and to bring others to Heaven, as well.

Finally, the Directory for the Ministry and Life of Priests (2013) states that in today’s world, with the proliferation of new sects and cults, there is “an eminently pastoral necessity for the priest to be a man of God and a master of prayer” (no. 47). The 1994 English edition of the Directory stated ‘teacher’ in place of ‘master.’ The Italian translation of the 2013 edition uses the word maestro which can mean master, but also teacher, guide, or leader. This document sets out clearly that it is part of the priest’s pastoral ministry to be able to teach and guide people how to pray. Priests are called to imitate Christ; hence, just as the disciples asked the Lord to teach them to pray, the priest is called to imitate Jesus and teach those entrusted to his care how to pray. Thus for the priest, becoming a teacher of prayer is closely bound to his spirituality, which is first and foremost a Eucharistic spirituality. By being a teacher of prayer, his spirituality becomes something that is not simply within himself or even simply between him and God, but it is missionary, apostolic―it sends him out. The priest, therefore, must daily teach people how to pray: through the scriptures, through the liturgy and preaching, and through his life.

In conclusion, the answer to the question of why do priests care so much about the liturgy and sacred music is firstly because they are the main elements of his function (to offer the Eucharistic sacrifice) and it is through his function that the priest acquires holiness and pastoral charity. Furthermore, part of the priest’s pastoral charity is to teach and lead people in prayer, especially through the worthy and beautiful celebration of the Eucharist, the source and summit of the Christian life.


We hope you enjoyed this guest article by Fr. Alan M. Guanella.

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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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

“To speak the language of God’s beauty, we must first begin to listen. And to listen, we must have silence in our lives. I pray that God will open our eyes and ears to beauty, and help us use it in the service of the Truth.”

— Bishop James D. Conley (10/4/2013)

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