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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

Letter on Sacred Music to Parishioners

Richard J. Clark · October 24, 2014

IVING LANGUAGE TO MUSIC is daunting. Music lives in a realm that is beyond words. Yet as musicians of the Church we are often called upon to do so quite regularly, whether in rehearsal, in conversation with parishioners, or in writing. It is necessary to posses the ability to get others excited about something that words elude. How does one articulate the transcendent? Furthermore, finding the right mode of expression for a given parish at a given time will differ. Doing so takes practice, perception, and vision.

At Our Lady of the Assumption Parish in Fairfield, Connecticut, Music Director Michael Andrew Cooney, (a. k. a. “Mac”) has written an exquisite introduction for his parishioners on the role of sacred music in the liturgy. So supportive is the pastor, Fr. Peter Cipriani, that the article appeared in their bulletin in place of the pastor’s weekly column, From the Pastor’s Desk.

While Mac Cooney acknowledges the influence of other authors, including Jeffrey Tucker and Fr. Christopher Smith, perhaps his article may serve to guide those of us searching for the words to speak to our parishioners, choir members, and also clergy. But even when graced with the right words, nothing is a fait accompli. Evangelization and catechesis is the work of a lifetime. Here is Mr. Cooney’s article in its entirety:

Rediscovering Worship and Sacred Music
An Introduction

“How I wept, deeply moved by your hymns, songs, and the voices that echoed through your Church! What emotion I experienced in them! Those sounds flowed into my ears, distilling the truth in my heart. A feeling of devotion surged within me, and tears streamed down my face — tears that did me good.” (St. Augustine, Confessions 9:6, 14)

No doubt, music has a unique ability to stir our emotions. But we need to be careful that liturgical music does not become entertainment – or mood-music. Its purpose and function is obviously much deeper, and, if implemented properly, helps to reveal truths we desire to know.

The Catechism of the Catholic Church, #1157 states that “Song and music fulfill their function as signs in a manner all the more significant when they are “more closely connected . . . with the liturgical action,” Through the beauty of expressive prayer, participation of the assembly at the designated moments, and the solemn character of the mass, “actively participate” is realized through the meaning of the liturgical words and actions which give all glory to God and sanctifies the faithful.

In order to help achieve this, careful attention must be given to the style of music used in the liturgy. It must be set apart from the associations of popular culture – the confines of our daily lives, and transport us into the solemnity of the mass, outside of our daily space and time, and to the Eternal. In essence, we assume a countercultural mentality to fully participate in the sacred liturgy.

John Paul II issued a pastoral letter in 1998, directed especially toward the United States, in which he said: “Active participation” does not preclude the active passivity of silence, stillness, and listening: Indeed, it demands it. Worshipers are not passive, for instance, when listening to the readings or the homily, or following the prayers of the celebrant, and the chants and music of the liturgy. These are experiences of silence and stillness, but they are in their own way profoundly active. In a culture which neither favors nor fosters meditative quiet, the art of interior listening is learned only with difficulty. Here we see how the liturgy, though it must always be properly inculturated, must also be countercultural.”

So, you may ask, “Why are we hearing psalms and antiphons during communion at mass from time to time?” It’s a small first step, and but one example, to propel our worship to that more fully active participation, to turn our hearts upward to the Eternal, and leave the distractions of the day outside for a mere hour on a Sunday.

In my service to the church, I take seriously the responsibility to ensure we always seek a deeper, profound understanding of our faith through the music we experience at mass. To help achieve this, we must ensure that sacred music is better integrated into the ritual (just as the readings and prayers are directly integrated into the mass), and set-apart from the distractions of our everyday lives. The various church documents, specifically the General Instructions of the Roman Missal (GIRM), exist to aid in this endeavor, and direct our worship to unity with the universal church throughout the world. We have an obligation to commune with the whole universal church, and to realize, in humility, that we are worshipping with our brothers and sisters throughout the world.

I promise you, there is much more beauty to be discovered in our worship, and I am excited to journey with you in this discovery. Together as a parish family, with open hearts and minds, we can enrich our worship through our participation, and come to better understand our relationship with God the Father, Son and Holy Spirit in the sacred mysteries.

Sing to the Glory of God!

Mac Cooney

AC COONEY’S PASSION FOR SACRED MUSIC comes across clearly. Yet his words are measured and designed to meet people where they are but challenge them a little. This letter is but a step with many more to come.

Also, a prolific composer, Mac offers a large number of sacred works on his website. Many can be downloaded for free. You may also contact Mac Coney directly on his website.

Printing such an article in the parish bulletin takes a great deal of courage from the pastor and from Mr. Cooney. Please pray for their spiritual success!

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 Richard J. Clark

Richard J. Clark is the Director of Music of the Archdiocese of Boston and the Cathedral of the Holy Cross.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    New Bulletin Article • “21 September 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 21 September 2025) discusses some theological items—supported by certain verses in ancient Catholic hymns—and ends by explaining why certain folks become delirious with jealousy when they observe feats by Monsignor Ronald Knox.
    —Jeff Ostrowski
    Cheap! Cheap! Cheap!
    It’s always amusing to see old diocesan newspapers—in huge capital letters—advertising the Cheapest Catholic Paper in the United States. The correspondent who sent this to me added: “I can think of certain composers, published by large companies in our own day, who could truthfully brag about the most tawdry compositions in the world!” I wonder what she could have meant by such a cryptic comment…
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    PDF Download • Dom Murray Harmonies
    Along with so many others, I have deep respect for Dom Gregory Gregory Murray, who produced this clever harmonization (PDF) of “O SANCTISSIMA.” It’s always amazed me that Dom Gregory—a truly inspired composer—was so confused when it came to GREGORIAN CHANT. Throughout his life, he published contradictory statements, veering back-and-forth like a weather vane. Toward the end of his life, he declared: “I see clearly that the need for reform in liturgical music arose, not in the 18th and 19th centuries, but a thousand years earlier—in the 8th and 9th centuries, or even before that. The abuses began, not with Mozart and Haydn, but with those over-enthusiastic medieval musicians who developed the elaborate and flamboyant Gregorian Chant.”
    —Jeff Ostrowski

Quick Thoughts

    Karl Keating • “Canonization Questions”
    We were sent an internet statement (screenshot) that’s garnered significant attention, in which KARL KEATING (founder of Catholic Answers) speaks about whether canonizations are infallible. Mr. Keating seems unaware that canonizations are—in the final analysis—a theological opinion. They are not infallible, as explained in this 2014 article by a priest (with a doctorate in theology) who worked for multiple popes. Mr. Keating says: “I’m unaware of such claims arising from any quarter until several recent popes disliked by these Traditionalists were canonized, including John XXIII, Paul VI, and John Paul II. Usually Paul VI receives the most opprobrium.” Mr. Keating is incorrect; e.g. Father John Vianney, several centuries ago, taught clearly that canonizations are not infallible. Archbishop Fulton J. Sheen would be another example, although clearly much more recent than Saint John Vianney.
    —Corpus Christi Watershed
    Vatican II Changed Wedding Propers?
    It’s often claimed that the wedding propers were changed after Vatican II. As a matter of fact, that is a false claim. The EDITIO VATICANA propers (Introit: Deus Israel) remained the same after Vatican II. However, a new set of propers (Introit: Ecce Deus) was provided for optional use. The same holds true for the feast of Pope Saint Gregory the Great on 3 September: the 1943 propers (Introit: Si díligis me) were provided for optional use, but the traditional PROPRIA MISSAE (Introit: Sacerdótes Dei) were retained; they weren’t gotten rid of. The Ordo Cantus Missae (1970) makes this crystal clear, as does the Missal itself. There was an effort made in the post-conciliar years to eliminate so-called “Neo-Gregorian” chants, but (contrary to popular belief) most were retained: cf. the feast of Christ the King, the feast of the Immaculate Conception, and so forth.
    —Corpus Christi Watershed
    Solemn “Salve Regina” (Chant)
    How many “S” words can you think of using alliteration? How about Schwann Solemn Salve Score? You can download the SOLEMN SALVE REGINA in Gregorian Chant. The notation follows the official rhythm (EDITIO VATICANA). Canon Jules Van Nuffel, choirmaster of the Cathedral of Saint Rumbold, composed this accompaniment for it (although some feel it isn’t his best work).
    —Corpus Christi Watershed

Random Quote

“Some of our younger parish clergy read their sermons. This should not be done except for some very special reason. The priest who is not capable of preparing and delivering a brief, clear instruction on Catholic teaching to his people is not fit to be in parish work. The people as a rule do not want to listen to a sermon reader.”

— Archbishop of Baltimore (9 July 1929)

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