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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

Garbage in, Garbage out

Andrew R. Motyka · March 18, 2015

OMETIMES IT’S STRANGE to think about just how far computers have come in my lifetime (and I’m pretty young). I remember my family’s first computer when I was a kid, a 64kb PC. I also remember even then thinking how easy it was to mess something up. A tech-savvy friend once used the principal of GIGO – Garbage In, Garbage Out – to refer to how most computer errors are, in fact, user errors. A machine doesn’t do what you want it to do; it does what is designed to do.

I got thinking about that idea when speaking with a friend of mine a few days ago. He was telling me about a retreat that he had gone on. By his account, it was a great retreat: he came away spiritually edified, he had time for prayer and reflection, and he grew in discipleship. That sounds like a great retreat to me. His one complaint, though, was something about the music (hang on, let me practice my Surprised Face). The music was well executed, and the musicians certainly had played for Mass and devotions before. They played all the standard Catholic hits from the 80s, as well as some “Praise and Worship” music (side note: I find devotions to be a pretty good time for Praise and Worship music, actually).

What hit him a few days into the retreat, though, was what he described as, “I felt like we were singing nursery rhymes.” He is used to getting (in his words) “meat and potatoes” texts when singing at Mass, so when switching to these pieces, he felt like it was a bit dumbed down. I can relate to that.

I understand the desire for the familiar favorites that many Catholics mention when they consider their preferences of Catholic music. Most of the melodies and accompaniments are pleasant sounding, familiar, and beautiful in their own way, if simplistic. One issue with many of these preferences, though, is the lack of consideration of the text.

This tendency is one I recognize from high school. I know there are times when I expressed my dislike of a particular popular song, and was heralded as crazy. Most of the time it was because I didn’t like or relate to the words. I would usually get the response, “I like it because of the beat” or “I don’t really care about the words.” Before you know it, you’re singing along to that song, and repeating, over and over again, words that don’t represent who you are or what you believe (see John Lennon’s Imagine for a good example of this). Soon, you may even come to believe these things. You’ve said them out loud often enough.

You are shaped by the things you see and hear, but more importantly, you are shaped by the things you say and do. The Church certainly recognizes this in her simple encapsulation of liturgical theology: lex orandi, lex credendi (the law of prayer is the law of belief). We come to believe what we pray. We also come to believe what we do and what we sing. The principle lex orandi, lex credendi works both in favor of good theology and against it, and it extends beyond the liturgy into our lives. Garbage in, garbage out.

This brings me back to my friend’s retreat. He’s not normally one to complain about music or other shortcomings in the liturgy. He knows not everyone is where he is. However, he recognized something true about the music he was experiencing: it was shallow, or in his words, nursery rhymes. Such music was described to me by Leo Nestor as candy, which is fine in small amounts, but not in place of vegetables. He would also say, “Too much of that music will rot your teeth and erode your faith.” It’s been ten years since he said that in class (maybe I’m not as young as I thought), but I’ve never forgotten it.

The next time you choose a piece of music for the liturgy, ask yourself: what is this piece saying? Is there enough substance to this to spend our time putting it in our mouths? Is it even true? The text matters. In fact, it’s more important than the music because it precedes it. If a text isn’t worth reciting, it’s not worth singing. Regular readers of this website will know our preference for the propers. It’s no coincidence that the propers use Scripture as their basis for texts. It’s tough to say that a text is garbage when it comes from the Bible. That doesn’t mean that Scripture is the only text worth singing, but it’s a good benchmark.

Pay attention to your texts, and to quote Dr. Nestor again, always be careful what words you put into the mouths of the People of God.

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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President’s Corner

    “Offertory” at Catholic Funerals
    I have argued that the OFFERTORY—at least in its ancient form—is more of a responsory than an antiphon. The 1962 Missal specifically calls it “Antiphona ad Offertorium.” From now on, I plan to use this beautiful setting (PDF) at funerals, since it cleverly inserts themes from the absolution of the body. Tons more research needs to be done on the OFFERTORY, which often is a ‘patchwork’ stitching together various beginnings and endings of biblical verses. For instance, if you examine the ancient verses for Dómine, vivífica me (30th Sunday in Ordinary Time) you’ll discover this being done in a most perplexing way. Rebecca Maloy published a very expensive book on the OFFERTORY, but it was a disappointment. Indeed, I can’t think of a single valuable insight contained in her book. What a missed opportunity!
    —Jeff Ostrowski
    “In Paradisum” • Gregorian Chant
    As a RECESSIONAL on All Souls’ Day (November 2nd), we will sing In Paradísum Dedúcant Te Ángeli (PDF). When it comes to Gregorian Chant, this is one of the most popular “songs.” Frankly, all the prayers and chants from the traditional REQUIEM MASS (Missa exsequialis or Missa pro defunctis) are incredibly powerful and never should’ve been scuttled. Click here to hear “In Paradisum” in a recording I made this afternoon.
    —Jeff Ostrowski
    “Music List” • All Souls (2 November)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 2 November 2025, which is the Commemoration of All the Faithful Departed (“All Souls”). 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 top-notch feasts website alongside the official texts in Latin. In my humble opinion, it’s weird to have the feast of All Saints on a Sunday. No wonder the close associate of Pope Saint Paul VI said the revised KALENDAR was “the handiwork of a trio of maniacs.” However, I can’t deny that sometimes the sacred liturgy consists of elements that are seemingly contradictory: e.g. the Mode 7 “De Profúndis” ALLELUIA, or the Mode 8 “Dulce lignum” ALLELUIA on the various ancient feasts of the Holy Cross (3 May, 14 September, and so on).
    —Jeff Ostrowski

Quick Thoughts

    Gospel Options for 2 November (“All Souls”)
    We’ve been told some bishops are suppressing the TLM because of “unity.” But is unity truly found in the MISSALE RECENS? For instance, on All Souls (2 November), any of these Gospel readings may be chosen, for any reason (or for no reason at all). The same is true of the Propria Missæ and other readings—there are countless options in the ORDINARY FORM. In other words, no matter which OF parish you attend on 2 November, you’ll almost certainly hear different propers and readings, to say nothing of different ‘styles’ of music. Where is the “unity” in all this? Indeed, the Second Vatican Council solemnly declared: “Even in the liturgy, the Church has no wish to impose a rigid uniformity in matters which do not implicate the faith or the good of the whole community.”
    —Corpus Christi Watershed
    “Our Father” • Musical Setting?
    Looking through a Roman Catholic Hymnal published in 1859 by Father Guido Maria Dreves (d. 1909), I stumbled upon this very beautiful tune (PDF file). I feel it would be absolutely perfect to set the “Our Father” in German to music. Thoughts?
    —Jeff Ostrowski
    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

Random Quote

We cannot exaggerate our indebtedness to Dr. Julian’s “Dictionary of Hymnology,” a monumental work, without which we could not have reached the high standard of accuracy, as to both texts and authorship, which we set before us when entering upon our labours.

— Committee for “New English Hymnal” (1906)

Recent Posts

  • “Offertory” at Catholic Funerals
  • “In Paradisum” • Gregorian Chant
  • The Beauty of the Propers for All Souls’ Day (and the Requiem Mass)
  • Gospel Options for 2 November (“All Souls”)
  • “Music List” • All Souls (2 November)

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