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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

The Pedagogy of the School Mass Liturgy

Dr. Alfred Calabrese · February 16, 2017

357 Calabrese ANY church musicians are fortunate to have a Catholic school connected with the parish in which they work. Perhaps some of our readers are involved in preparing the music for the all-school Masses during the school year. What an immensely important and rewarding task this is. The preparation involves much more than the thoughtful selection of music. Often, it may include training student choirs and psalmists, communicating with the faculty, creating worship aid materials, and working closely with the pastor and the school music teacher. In short, preparing the school Mass is just as time intensive as planning for weekend liturgies. In our school in Dallas, we have established a great team that works together to cover all of these tasks.

Those who prepare school liturgies have a tremendous pedagogical responsibility. What children will experience during their school years will have a lasting formational impact on their future as active Catholic Christians. Additionally, it’s a sad fact that not all of our Catholic households are fulfilling their Sunday obligation to attend Mass, so for some Catholic children in our schools, the school Mass is the only one they ever attend.

Pedagogical points to consider:


(1) Choose hymn texts carefully

No matter the style of music, the texts should be the first consideration. If you sing hymns, they must teach Catholic doctrine, not confuse it or oppose it. Hymns that speak of “us” or “I” are less strong than those that talk about things like Jesus the Good Shepherd, Christ the King, the saints, or the real presence of Christ in the Eucharist. Texts that seem to put man and God on equal footing are dangerous, and those that play in the world of pseudo Catholic spirituality are often downright heterodox. 1


(2) Align the school Mass with music sung on Sunday

This is an important pedagogical tool. Too often the music selected for the school Mass has nothing to do with that of the Sunday Mass. This is unfortunate. All parish liturgies benefit when planning for them happens in tandem. Children and teachers should be able to recognize the Ordinary, hymns, and psalms sung at the school Mass as ones that they would very likely sing on Sunday. Not only does this help to increase singing in the Mass, but it builds a repertoire of solid, orthodox music that becomes part of our students’ Catholic DNA.


(3) Make worship of God the focus of Mass

The school Mass should not be a time for experimentation. Nor should it be an opportunity to use the idea of participation in the Mass as an excuse to give children a chance to ‘do something.’ This is dangerous because the school Mass can quickly become more of an assembly or talent show than a liturgy. Keep the focus on the corporate worship of God instead of how many children get to do something.


(4) Those who do things should be held to a high standard

The desire for excellence should always be the foremost standard required for anyone who has a role in the Mass. Cantors and all musicians should be well trained and rehearsed. Good role models should be shown from the very first Mass of the school year. This year we set a fine example for our students by having our school music teacher serve as the cantor for the entire first month of school. This created an atmosphere of excellence and taught potential student cantors what would be expected of them. The same standards and expectations should be in place for students who might wish to play a prelude before Mass, and for altar servers and student readers.


(5) Build an after-school choral program

The value of a trained student choir, schooled in vocal technique, exposed to excellent Catholic music in both English and Latin, familiar with both modern and square note notation, and given an understanding of the ministerial role of the schola is of the utmost importance wherever it is possible. Our student choir sings at weekly school Masses and on Sundays. When they sing on Sunday, they always sing at our high Mass and with the top adult choir, with the children often taking the soprano line of four-part choral music. Repertoire includes music of Rutter and Mawby to Allegri, Elgar, and Mozart. Our choristers are immersed in both the sights and sounds of Catholic liturgy and music, and can speak intelligently not only about key and time signatures, but about the parts of the Mass and the theology of the Eucharist. What these well-trained students bring to the school Mass experience is invaluable. I cannot over-emphasize the importance and lasting value of creating an excellent liturgical choral program.

The school Mass can be an important learning experience for students each and every week. For those who help to plan and prepare for this Mass, the pedagogical potential is enormous. Let’s all take this responsibility seriously. If you are met with opposition or criticism, both of which are very likely, enter into prayer, enlist the help and advice of your pastor, and continue to educate yourself about the liturgy so that you can continue this important work with courage.



NOTES FROM THIS ARTICLE:

1   With Ash Wednesday coming soon, I am reminded of a popular contemporary hymn about ashes that has one line in particular that is completely heterodox. Perhaps you know what I’m talking about. Then there is the famous example of a “Gathering” hymn that talks about a heaven that is “light years away.”

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 Dr. Alfred Calabrese

Dr. Alfred Calabrese is Director of Music and Liturgy at St. Rita Catholic Church in Dallas, TX. He and his wife have two children.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    Why A “Fugue” Here?
    I believe I know why this plainsong harmonizer created a tiny fugue as the INTRODUCTION to his accompaniment. Take a look (PDF) and tell me your thoughts about what he did on the feast of the Flight of Our Lord Jesus Christ into Egypt (17 February). And now I must go because “tempus fugit” as they say!
    —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
    “Reminder” — Month of October (2025)
    Those who don’t sign up for our free EMAIL NEWSLETTER miss important notifications. Last week, for example, I sent a message about this job opening for a music director paying $65,000 per year plus benefits (plus weddings & funerals). Notice the job description says: “our vision for sacred music is to move from singing at Mass to truly singing the Mass wherein … especially the propers, ordinaries, and dialogues are given their proper place.” Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski

Quick Thoughts

    “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 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
    Did they simplify these hymn harmonies?
    Choirs love to sing the famous & splendid tune called “INNSBRUCK.” Looking through a (Roman Catholic) German hymnal printed in 1952, I discovered what appears to be a simplified version of that hymn. In other words, their harmonization is much less complex than the version found in the Saint Jean de Brébeuf Hymnal (which is suitable for singing by SATB choir). Please download their 1952 harmonization (PDF) and let me know your thoughts. I really like the groovy Germanic INTRODUCTION they added.
    —Jeff Ostrowski

Random Quote

“The Church has always kept, and wishes still to maintain everywhere, the language of her Liturgy; and, before the sad and violent changes of the 16th century, this eloquent and effective symbol of unity of faith and communion of the faithful was, as you know, cherished in England not less than elsewhere. But this has never been regarded by the Holy See as incompatible with the use of popular hymns in the language of each country.”

— Pope Leo XIII (1898)

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