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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

Funerals: The Most Challenging Pastoral Responsibility

Richard J. Clark · March 22, 2019

E HAVE ALL been there. As pastoral musicians, at times one experiences particularly difficult and emotional funerals. They could include the death of a child or bright promising young adult. There is devastating tragedy and those who battled illness or addiction. Maybe it is a parent of young children. Such funerals can weigh the heavily upon a priest, pastoral staff, and a volunteer bereavement ministry.

Meanwhile, the grieving are not liturgical experts, nor should they be. Also challenging is navigating societal customs and expectations imposed upon Roman Catholic funerals, such as celebrating one’s life or memorializing the deceased with personal preferences. Understandably lost in a sea of grief may be the centrality of Christ and an understanding of praying for the soul of the deceased—a great act of love. The beauty of the Roman Catholic funeral is that we place the Eucharist at the center even in death—especially in death. The focus on Christ in the Funeral Mass is a priceless gem, a lifeline in grief.

But fielding requests for liturgically inappropriate music is the norm. How does one tell the mother who has lost a child that certain music is not appropriate or allowed at the Funeral Mass?

HIS TOPIC DESERVES volumes, but such challenges can be distilled with the great salutary effects a musician’s pastoral presence. Meeting with or speaking directly with a family may have as much healing impact as the particular outcome of the discussion. It requires diplomacy, empathy, patience, experience, and an arsenal of alternate suggestions at hand to gently guide a grieving family toward a funeral Mass that truly places Christ at the center. Ideally, this is accomplished with music that “should console and uplift the grieving while expressing a spirit of hope in the Christian’s share in Christ’s victory over death.” (Order of Christian Funerals #31, emphasis added)

Additionally, there are multiple views on the word “pastoral.” The common perspective is to allow what is less than ideal for reasons of accommodation. But a second is often overlooked: to model and offer the ideal whenever possible. (With funerals, it is often a combination of the two. And both views require a personal presence!) Placing Christ at the center of our sacred music is a pastoral responsibility. It speaks universally regardless of one’s religious inclination or practice. Consciously or not, hope, comfort, and joyful hope of sharing in Christ’s resurrection is a pastoral response. This pastoral response flows though for music that is 1) sacred, 2) beautiful, and 3) universal. (Tra le Sollecitudini §1-2)

Related Article: • Ministry of Consolation • A Case for Congregational Singing at Funerals


UPDATED FUNERAL POLICY • ARCHDIOCESE OF BOSTON

      * *   In December of 2018, the Archdiocese of Boston released an updated funeral policy that covers a broad range of issues. You can download it here.

Pages 13 and 14 address “Music in the Funeral Mass.” It’s important to note there is truly nothing new here. Why? “The same liturgical norms applied to music at any Mass apply to the Funeral Mass.” I.e., the liturgy documents, e.g., Constitution on the Sacred Liturgy apply for funerals. Notable is §6 which discusses the three judgments for selecting music as indicated in the 2007 US Bishops’ document Sing to the Lord: Music in Divine Worship (SttL): 1) Pastoral Judgment, 2) Liturgical Judgment, and 3) Musical Judgment.

Also notable is §9 which address the prohibition on secular music (and recorded music in §10):

The request for “favorite songs” of the deceased often result in inappropriate performances of music incapable of bearing the weight liturgy demands. Secular music, even if personally meaningful to the deceased or mourners, is never appropriate for the Sacred Liturgy. (SttL #246) Popular songs, sentimental ethnic music, songs from theater or film, and even non-liturgical or quasi-religious music are never to substitute for music of the funeral liturgy. Furthermore, “music should never be used to memorialize the deceased, but rather to give praise to the Lord, whose Paschal Sacrifice has freed us from the bonds of death.” (SttL #248)


“WHAT MUSIC IS APPROPRIATE FOR THE FUNERAL OF A LOVED ONE?”

IT IS WISE to develop a good relationship with funeral directors. This will assist in offering appropriate guidance and help to the grieving. To distill a lengthy and dry document, I have offered the following words on “What music is appropriate for a funeral of a loved one?” You can download it here. This also includes some suggested music for the Cathedral of the Holy Cross. Feel free to incorporate this or similar language for your parish.

HE CHALLENGE for pastoral musicians at times is to “do it all”: integrate personal compassion and empathy with liturgical and musical expertise, while gently guiding those in grief to the joy and consolation of Christ. One never fully knows the pain and suffering of those who enter the doors of our churches. Our service is an act of love and charity. This is our call.

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

Filed Under: Articles Tagged With: Order of Christian Funerals 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

    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’ with regard to 1960s switch to 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
    “Music List” • 27th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 5 October 2025, which is the 27th Sunday in Ordinary Time (Year C). 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 spectacular feasts website alongside the official texts in Latin. Readers will want to check out the ENTRANCE CHANT posted there, which has a haunting melody (in the DEUTERUS MODE) and extremely powerful text.
    —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

“Whether celebrated with priest and people facing each other or with priest and people together facing the same direction, every Eucharist is Christ coming to meet us, gracing us with a share in his own divine life.”

— Most Rev’d Arthur J. Serratelli (1 December 2016)

Recent Posts

  • New Bulletin Article • “12 October 2025”
  • “Reminder” — Month of October (2025)
  • “American Catholic Hymnal” (1991)
  • Involving Women in the Communion?
  • “Toward a More Sacred Style With Pastoral Charity” • Guest Article by Dr. Myrna Keough

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