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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

My Response To “Should Church Singers Be Paid?”

Jeff Ostrowski · August 4, 2015

439 paid singers stained glass ACK IN APRIL, I promised to write about the subject of paying singers at Church. At that time, I carefully avoided revealing my thoughts on the matter. Nevertheless, I received an avalanche of emails, with a few attacking me personally. Some were angry I had condemned paid singers, while others criticized me supporting paid singers. In fact, I made neither statement.

A great theologian has written:

There’s nothing wrong with paying singers at Mass. It is simply a recognition of the fact that a professional singer (or section leader) has a special role to play in the total event of a MISSA CANTATA, which deserves a special acknowledgement according to the Gospel: Dignus est operarius mercede sua (I Tim 5: 18).

I agree, but there’s more to the story…

EACH CHOIRMASTER MUST decide for himself the best course of action. During my career, I’ve worked with paid singers and volunteers. Everyone knows the challenges that can arise with volunteers, but did you know paid singers can also bring problems? In my experience, when singers are paid, it can (sometimes) be difficult to ascertain if they’re attending Mass for the right reasons. Moreover, feelings of jealousy can grow in the other singers’ hearts. 1

Some will think me a fool, but I prefer not to rely on paid section leaders. My preference is to find parishioners who already attend Mass for the right reasons, training them. If I had paid section leaders, the non-paid singers might feel “extra,” whereas the paid singers are all that’s necessary. Our current arrangement causes me sleepless nights filled with worry—it’s true—but in my humble opinion the singers appreciate being needed. 2

If I were to employ paid singers again—and I reserve the right to change my mind!—I would do so through an established program. I would avoid making statements like one I’ll never forget, directed at a section leader whose attendance was poor: “Remember, if you don’t show up on Holy Thursday, you won’t get your $40.00.” It would be understood that section leaders receive a stipend provided in a subtle, equitable, and dignified manner. 3

When the lights break in the church, we pay an electrician. Priests, of course, are always paid (salary, health insurance, living expenses, cost of transportation, and so on). Organists, too, are generally paid, which I think is appropriate. Yet, in all my years serving as an Altar Boy—acolyte, thurifer, torchbearer, and master of ceremonies—I only remember getting paid once: for a funeral. I suppose much depends on local custom.



NOTES FROM THIS ARTICLE:

1   With regard to paying the choirmaster, I have no issue with this, but I also worked for years as a volunteer choirmaster & organist. Justice would seem to demand compensation in this case, since preparing for Sunday can easily require 40+ hours of hard work each week.

2   I recall sharing my views while serving on a discussion panel in front of an audience. One of my colleagues muttered something like, “It’s a pity you don’t hold your choir to the highest standards.” However, one can still have high standards while following the program I’ve outlined, where volunteer singers are found in one’s parish. Furthermore, if there’s excess money, it could be spent on other things that would improve the sacred music, such as hiring a music teacher for children in the parish. In short, I disagree with that panelist’s statement.

3   I once worked at a large parish where the administration constantly forgot to pay me. Twice or thrice each month I was forced to beg the secretary for my paycheck; it was truly humiliating. But these same folks somehow consistently remembered to pay the electric bill.

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 Jeff Ostrowski

Jeff Ostrowski holds his B.M. in Music Theory from the University of Kansas (2004). He resides with his wife and children in Michigan. —(Read full biography).

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Corpus Christi Watershed

President’s Corner

    (Part 2) • Did they simplify this hymn?
    Choirs love to sing the resplendent tune called “INNSBRUCK.” Looking through a (Roman Catholic) German hymnal printed in 1929, I discovered what appears to be a simplified version of that hymn. Their harmonization is much less complex than the version found in the Father Brébeuf Hymnal (which is suitable for singing by SATB choir). Please download their 1929 harmonization (PDF) and let me know your thoughts. As always, the Germans added an organ INTRODUCTION. For the record, I posted a different harmonization a few months ago which was downloaded more than 2,000 times.
    —Jeff Ostrowski
    PDF • “Lectionary Comparison Chart”
    Various shell corporations (in an effort to make money selling Sacred Scripture) have tinkered with the LECTIONARY texts in a way that’s shameful. It’s no wonder Catholics in the pews know so few Bible passages by heart. Without authorization, these shell corporations pervert the official texts. Consider the Responsorial Psalm for the 1st Sunday of Advent (Year A). If you download this PDF comparison chart you’ll notice each country randomly omits certain sections. Such tinkering has gone on for 60+ years—and it’s reprehensible.
    —Corpus Christi Watershed
    Monsignor Klaus Gamber Speaks!
    An interesting quotation from the eminent liturgist, Monsignor Klaus Gamber (d. 1989): “According to canon law, a person’s affiliation with a particular liturgical rite is determined by that person’s rite of baptism. Given that the liturgical reforms of Pope Paul VI created a de facto new rite, one could assert that those among the faithful who were baptized according to the traditional Roman rite have the right to continue following that rite; just as priests who were ordained according to the traditional Ordo have the right to exercise the very rite that they were ordained to celebrate.”
    —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 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

“These liturgists protest that the choir must be encouraged, but in the same breath we are told its purpose is to lead the congregation in the singing of hymns and other unison music. These directions from non-musicians who have never created a musical sound—let alone direct a choir—are the cause of consternation among practicing musicians, both instrumentalists and singers.”

— Monsignor Richard J. Schuler (30 November 1967)

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