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Views from the Choir Loft

Sacred Music As Entertainment

Guest Author · July 10, 2014

0319_Card-Flute-LG UMMER AND AUTUMN in the Midwestern United States are filled with church and parish festivals. Anyone armed with a copy of the diocesan newspaper, opened to the “date book” section, could spend every weekend or so visiting a new city, a new parish, and taking in the sights and sounds of the parish festival. These festivals, however, also bring out the annual “Polka Mass” for the parish.

If you’re not familiar with the “Polka Mass,” it is a regularly celebrated Ordinary Form Mass in which the music is done by a polka band and choir. The Ordinary of the Mass and all the hymns are sung in the style of polka music. Unfortunately, very often the texts of the Ordinary are paraphrased, changed, or from previous English translations. The melodies are often traditional polka tunes with the Mass text or hymn pasted onto the melody. While it’s not my desire now to critique these so-called “Polka Masses,” a recent headline in a Midwestern newspaper encouraged me to think.

The headline read Polka choir marks 40 years of entertaining. Entertaining? A church choir is all about entertaining? I wasn’t taught that in my years of seminary. And yet there are so many people who feel that Mass needs to be more “fun” (or, in other words, “entertaining”). If only the choir wasn’t so dull, some say, those pews might be full. It’s really one symptom of a larger problem that the headline alludes to: is Sacred Music simply for entertainment value?

ET’S TAKE A LOOK AT SOME of the Church’s teaching in regard to Sacred Music. St. Pius X in his motu proprio Tra le Sollecitudini calls Sacred Music “a complementary part of the solemn liturgy” and states that its “principal office is to clothe with suitable melody the liturgical text proposed for the understanding of the faithful” and that its “proper aim is to add greater efficacy to the text.” I don’t see anything in there about Sacred Music’s entertainment of the congregation.

In Pius XII’s encyclical Musicae Sacrae, Pius explains that Sacred Music has a special power and excellence that should lift up to God the minds of the faithful who are present. Pius further explains that Sacred Music “should make the liturgical prayers of the Christian community more alive and fervent so that everyone can praise and beseech the Triune God more powerfully, more intently, and more effectively.”

Finally, the 1967 Instruction on Music in the Liturgy, Musicam Sacram, from the Sacred Congregation of Rites, written after the Second Vatican Council, makes clear that the duty of the choir is “to ensure the proper performance of the parts which belong to it, according to the different kinds of music sung, and to encourage the active participation of the faithful in the singing.”

HAT IS THE POINT OF ALL THIS? Sacred Music and the choir of a church aren’t there for entertainment value. Music isn’t part of the liturgy to add “spice and flavor” to the liturgical action. St. Pius X described Sacred Music’s function as “suitably clothing” the liturgical text and its aim as adding greater value to the text. Pius XII elucidated the effect that Sacred Music has on making the community’s prayers more alive and more fervent, so that everyone can praise and entreat God “more powerfully, more intently and more effectively.” Musicam Sacram continues in this thread by stating clearly that a choir should encourage the active participation of the faithful in the singing.

The Liturgy and Sacred Music aren’t the theatre―a place built for entertainment―but rather a place for worship of God and prayer to Him. The Liturgy is “a sacred action surpassing all others; no other action of the Church can equal its efficacy by the same title and to the same degree” (as says Sacrosanctum Concilium). We go to theatres and cinemas for entertainment. The newspaper article I read headlined the forty years of “entertaining” that that polka choir has done: I hope there’s also been forty years of encouraging the active participation of the faithful in the singing; and “suitably clothing” the liturgical text so that the community’s prayers can be more alive and fervent.


We hope you enjoyed this guest post 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

    “Music List” • 5th Sunday of Easter (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 5th Sunday of Easter (18 May 2025). If such a thing interests you, feel free to download it as a PDF file. The Communion Antiphon was ‘restored’ the 1970 Missale Romanum (a.k.a. MISSALE RECENS) from an obscure martyr’s feast. Our choir is on break this Sunday, so the selections are relatively simple in nature.
    —Jeff Ostrowski
    Communion Chant (5th Sunday of Easter)
    This coming Sunday—18 May 2025—is the 5th Sunday of Easter, Year C (MISSALE RECENS). The COMMUNION ANTIPHON “Ego Sum Vitis Vera” assigned by the Church is rather interesting, because it comes from a rare martyr’s feast: viz. Saint Vitalis of Milan. It was never part of the EDITIO VATICANA, which is the still the Church’s official edition. As a result, the musical notation had to be printed in the Ordo Cantus Missae, which appeared in 1970.
    —Jeff Ostrowski
    “Music List” • 4th Sunday of Easter (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 4th Sunday of Easter (11 May 2025). If such a thing interests you, feel free to download it as a PDF file. I don’t know a more gorgeous ENTRANCE CHANT than the one given there: Misericórdia Dómini Plena Est Terra.
    —Jeff Ostrowski

Quick Thoughts

    Antiphons Don’t Match?
    A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).
    —Corpus Christi Watershed
    When to Sit, Stand and Kneel like it’s 1962
    There are lots of different guides to postures for Mass, but I couldn’t find one which matched our local Latin Mass, so I made this one: sit-stand-kneel-crop
    —Veronica Brandt
    The Funeral Rites of the Graduale Romanum
    Lately I have been paging through the 1974 Graduale Romanum (see p. 678 ff.) and have been fascinated by the funeral rites found therein, especially the simply-beautiful Psalmody that is appointed for all the different occasions before and after the funeral Mass: at the vigil/wake, at the house of the deceased, processing to the church, at the church, processing to the cemetery, and at the cemetery. Would that this “stational Psalmody” of the Novus Ordo funeral rites saw wider usage! If you or anyone you know have ever used it, please do let me know.
    —Daniel Tucker

Random Quote

“In particular, today we must remember that our liturgy—celebrated according to the books promulgated by Saints Paul VI and John Paul II—must be preserved from any element from the ancient forms.”

— Bishops of Costa Rica —Hat tip to ‘Catholic Arena’

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