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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

Six Things Of Which We’ve Lost Sight

Richard J. Clark · September 4, 2015

ORE RECENTLY I’ve taken the opportunity to bring my children to Mass with me while I am working. Doing so affects my experience in prayer subtly and not so subtly. One such experience was having my daughter unexpectedly reach up to hold my hand just as I was intoning the Alleluia. Pleasantly startled, it was a sensation I have never felt in such a context–it left quite an impression on my soul.

She held my hand until I was done singing. She didn’t say anything. That was that–a child doing what comes naturally to them: being a beacon of light and truth.

HIS PROVIDES PERSPECTIVE on the many debates about liturgy and especially music. Every music director is quite used to fielding critiques, comments, opinions, etc., about what music would be better than what one is currently providing. Everyone would like more of this and less of that. And less of this and more of that.

Forget style. Here are things we’ve lost sight of and need to get back:


1. THE MASS IS A SUNG PRAYER.

Regardless of the style of music, are we singing the Mass? Are we singing the dialogues, the acclamations, both considered even by Sing to the Lord: Music in Divine Worship (SttL) to be the most important things that we sing? (And hymns and songs the least important as indicated by SttL §115d and the GIRM §48.)

Are we helping our priests—especially those who are not inclined to sing—to chant the presidential texts, Preface, or dialogues?

If not, why not?

Singing the Mass is integral; music is not an “addition” to the Mass. Sacred song grew up side by side with the Roman Rite in the singing of the texts of the Mass and hence scripture. This is our core understanding. This is the core understanding of Vatican II. (SC§ 112)


2. OUR PREFERENCES DON’T MATTER

What happens at Mass is entirely the work of God and a gift from God. Our personal tastes don’t matter very much in light of this. Corporate prayer necessitates the subjection of our will to God’s will. This is difficult. It’s supposed to be difficult, yet joyous!

Like a family, we naturally put the greater good ahead of our own desires. God’s will is all. This understanding comes naturally when we align ourselves to trust God. It may also come as a blessed relief as God carries our burdens.


3. CHRIST IS THE CENTER OF OUR MUSIC—NOT US.

Losing sight of this is perhaps the most dangerous. We should see Christ in our neighbor. That is what we are called to do.

But liturgical music is often manipulated and abused as a god of personal gratification. Music of all styles can become an idol when used for this purpose.

Is Christ the center of our music both in the text and intent? If we are the center, we’ve missed the opportunity to be intimate with God and nurture our relationship with Him. Furthermore, God at the core creates the opportunity to strengthen our relationships with each other.


4. WE LIVE TO SERVE.

We live to serve God and His people. It’s that simple. Ubi caritas et amor, Deus ibi est. Incidentally, this is where we find true fulfillment and happiness.


5. CHRIST IS ETERNAL. OUR MUSIC MIGHT NOT BE.

Consider that the fifty years since Vatican II are but a blink of an eye in the history of music, no less the world. Hundreds of years or even a millennium are nothing in the sight of God. But God also knows every hair on your head and knows all good things that you need.

Consider that the often-used terms “traditional” and “contemporary” are not styles. They describe aspects of time. Every note I’ve composed this year is “contemporary.” I’ll be fortunate if in a couple hundred years any of it becomes “traditional.” I won’t care by then I hope, because Christ is eternal.


6. GOD WANTS YOU CLOSE.

Pray unceasingly. God wants you close. He will find you, hunt you down and draw you near in an eternal loving embrace.

Y DAUGHTER REACHING FOR MY HAND while I was singing will probably teach me more than any books will. She communicated far more than my music ever will. It was love beyond words.

If God’s love is anything like my daughter’s for her parents, we have reason to rejoice. We have great reason to look forward to the Heavenly Banquet. We have the greatest reason to glorify God in divine worship.

Soli Deo gloria

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

    “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. Professor Louis Bouyer spoke of the way Bugnini “scuttled the office of the dead” in this fascinating excerpt from his memoirs. In his book, La riforma litugica (1983), Bugnini bragged—in quite a shameful way—about eliminating the ancient funeral texts, and even admitted those venerable texts were “beloved” (his word) by Catholics.
    —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

“It is when they are practicing that large groups stop in order to sleep; they don’t give themselves a new impetus after a pause (even if it is minimal) and singers pause when they should not (quarter-bar, half-bar)—everything provides temptation to go to sleep! It is thus not a question of rhythm but of musical integrity.”

— Justine Ward (20 July 1952)

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  • “Offertory” at Catholic Funerals
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