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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

Church Musicians are called to be Good Shepherds

Andrew Leung · May 11, 2017

CTL Good Shepherd 1 AST SUNDAY was “Good Shepherd Sunday”, for those of us who attended the Ordinary Form of the Roman Rite. And for those who goes to the Traditional Latin Mass, it was celebrated the Sunday before, the 3rd Sunday after Easter. Obviously, Jesus is calling the bishops and the priests to be good shepherds like Himself in the Gospel of John (10:1-18); but I think he is also calling all church musicians to be good shepherds. We, too, are constantly proclaiming, and even in a sense preaching sometimes, the Word of God as we are serving at the liturgy. We should always do our best to assist the principle shepherds, the priests, in a special way by singing the liturgy.

The first step of being a good shepherd is to know the flock: to be interested in them, their needs, their likes and dislikes, their daily life and their ways of communication. It is very important to first establish a relationship with the people we are serving, and not just any relationship, but good and positive relationships. We can only proceed onto serving the flock when we truly know them and understand their needs.

Then, once we know our sheep, we need to offer them the best and dedicating our whole self to serve them. It is very important that we give them what is “the best”, not just “what they want”. This is especially important when we help plan weddings and funerals. We can’t just play or sing what people want, but only what is appropriate for the liturgy. Our goal is to bring people to Christ, the ultimate good shepherd. Sometimes, I would like to think that we are merely the shepherd dogs of our Lord, who carry out His command and help others to follow Him.

Being good shepherds, we must also be prepared to lay down our lives for the sheep, that is to be willing to make sacrifices for them. Most of us don’t get to enjoy the “holiday seasons” like the rest of the world, we probably will be working overtime at the church. Our evenings are going to be occupied by rehearsals and meetings at the parish. And of course, there often are emotional situations around the parish music program. A good shepherd will accept these sacrifices without complain.

A Franciscan friar, also a famous singer who performs around the world, once said to me: “when you sing (especially the high notes), you must take deep breaths, and then allow the Holy Spirit sing through your mouth as the air flow out. Imagine that the Holy Spirit is the air that you are breathing.” Similarly, we must let the Holy Spirit guide us as we make music to glorify God. We are not just performing, singing and playing music in the name of Christ; but we need to allow Christ to touch the hearts of the people through our music.

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 Leung

Andrew Leung currently serves the music director of Vox Antiqua, conductor of the Cecilian Singers, and music director at Our Lady of China Church.—(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

Jeffrey Tucker: “What are your thoughts on what passes for sacred music in most Catholic parishes today?” Richard Morris: “There’s nothing sacred about it. The tunes, rhythms, and messages are drawn mainly from secular culture. When it isn’t aesthetically repugnant and downright offensive to the Faith, it is utterly forgettable.”

— James Richard Morris (concert organist)

Recent Posts

  • Why A “Fugue” Here?
  • “Three Reasons To Shun Bad Hymns” • Daniel B. Marshall
  • “Puzzling Comment” • By A Respected FSSP Priest
  • New Bulletin Article • “12 October 2025”
  • “Reminder” — Month of October (2025)

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