• Skip to primary navigation
  • Skip to main content
  • Skip to primary sidebar

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.”

  • Donate
  • Our Team
    • Our Editorial Policy
    • Who We Are
    • How To Contact Us
    • Sainte Marie Bulletin Articles
    • Jeff’s Mom Joins Fundraiser
  • Pew Resources
    • Brébeuf Catholic Hymnal
    • Jogues Illuminated Missal
    • Repository • “Spanish Music”
    • KYRIALE • Saint Antoine Daniel
    • Campion Missal, 3rd Edition
  • MUSICAL WEBSITES
    • René Goupil Gregorian Chant
    • Noël Chabanel Psalms
    • Nova Organi Harmonia (2,279 pages)
    • Roman Missal, 3rd Edition
    • Catechism of Gregorian Rhythm
    • Father Enemond Massé Manuscripts
    • Lalemant Polyphonic
    • Feasts Website
  • Miscellaneous
    • Site Map
    • Secrets of the Conscientious Choirmaster
    • “Wedding March” for lazy organists
    • Emporium Kevin Allen
    • Saint Jean de Lalande Library
    • Sacred Music Symposium 2023
    • The Eight Gregorian Modes
    • Gradual by Pothier’s Protégé
    • Seven (7) Considerations
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

Subscribe

It greatly helps us if you subscribe to our mailing list!

* indicates required

Primary Sidebar

Corpus Christi Watershed

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

“To me nothing is so consoling, so piercing, so thrilling, so overcoming, as the Mass, said as it is among us. I could attend Masses for ever, and not be tired.”

— John Henry Cardinal Newman (1848)

Recent Posts

  • Every Diocesan Music Commission Should Do This
  • Exclusive Interview • “Púeri Cantóres” President
  • PDF Download • “Offertory” for this Sunday
  • The Real Miracle of Gregorian Chant
  • Why A “Fugue” Here?

Subscribe

Subscribe

* indicates required

Copyright © 2025 Corpus Christi Watershed · Isaac Jogues on Genesis Framework · WordPress · Log in

Corpus Christi Watershed is a 501(c)3 public charity dedicated to exploring and embodying as our calling the relationship of religion, culture, and the arts. This non-profit organization employs the creative media in service of theology, the Church, and Christian culture for the enrichment and enjoyment of the public.