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Views from the Choir Loft

Musician • Center of Attention or Servant?

Richard J. Clark · April 22, 2016

OHN 13:16-17: “Amen, amen, I say to you, no slave is greater than his master nor any messenger greater than the one who sent him. If you understand this, blessed are you if you do it.”

Regardless of specialty, the vast majority of musicians find themselves in the role of service. Consider any educator. Those who teach music live an unglamorous life. Whether teaching at a prestigious conservatory, or a Kodály movement class for four-to six-year olds, teaching is the very definition of service. The teacher is not the center of attention. Those who embrace and relish this role are the teachers who change the world.

CULTURAL PROBLEM that pervades the Roman Catholic Church is the secular view of musician as a focus of attention. This view persists quite often in both congregations and among musicians. This is the root of countless liturgical (and professional) problems, most importantly the misunderstanding of the role of sacred music, which is to uplift souls by pointing to God. (Tra le Sollecitudini [“Instruction on Sacred Music”] §1. “…the glory of God and the sanctification, the edification of the faithful.”)

Applause from a congregation for musicians, or musicians that impede congregational singing for the sake of personal artistry, are but symptoms. The church musician has been misidentified as a separate entity—a showpiece—and not properly identified as a servant of the liturgy, a servant of God, a servant of the people. As servant, the church musician must inspire, yet be invisible to the greatest extent possible. This requires large doses of skill and humility.

HERE ARE MANY extraordinary artists who deserve much recognition for their work. Interestingly, the greatest artists also seem to be the most humble. They deflect credit to talented people around them that contribute to their work. More importantly, they seek to point to something larger than themselves: a message, beauty, hope, aspiration, inspiration, and in the case of a church musician, divine transcendence.

The greatest of artists also tend to be more secure within themselves and have no need for attention to affirm their self worth. They prefer to allow their art speak for itself. If worthy, it will change the world.

“It was not you who chose me, but I who chose you and appointed you to go and bear fruit that will remain.” — John 15:16

Opinions by blog authors do not necessarily represent the views of Corpus Christi Watershed.

Filed Under: Articles Tagged With: Servant Leader 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

    Urgent! • We Desperately Need Funds!
    A few days ago, the president of Corpus Christi Watershed posted this urgent appeal for funds. Please help us make sure we’re never forced to place our content behind a paywall. We feel it’s crucial that 100% of our content remains free to everyone. We’re a tiny 501(c)3 public charity, entirely dependent upon the generosity of small donors. We have no endowment and no major donors. We run no advertisements and have no savings. We beg you to consider donating $4.00 per month. Thank you!
    —Jeff Ostrowski
    “Booklet of Eucharistic Hymns” (16 pages)
    I was asked to create a booklet for my parish to use during our CORPUS CHRISTI PROCESSION on 22 June 2025. Would you be willing to look over the DRAFT BOOKLET (16 pages) I came up with? I tried to include a variety of hymns: some have a refrain; some are in major, others in minor; some are metered, others are plainsong; some are in Spanish, some are in Latin, but most are in English. Normally, we’d use the Brébeuf Hymnal—but we can’t risk having our congregation carry those heavy books all over the city to various churches.
    —Jeff Ostrowski
    “Yahweh” in church songs?
    My pastor asked me to write a weekly column for our parish bulletin. The one scheduled to run on 22 June 2025 is called “Three Words in a Psalm” and speaks of translating the TETRAGRAMMATON. You can read the article at this column repository. All of them are quite brief because I was asked to keep within a certain word limit.
    —Jeff Ostrowski

Quick Thoughts

    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed
    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

Random Quote

“Catholics in America have been the heirs of a sentimental and subjective hymn tradition that, for some reason or other, has taken a deep and fast hold on the fancy of the average person.”

— Fr. Francis Brunner (1953)

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