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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

What to Do When Music Creeps Into Your Prayer

Keven Smith · May 18, 2020

SPEND a great deal of time thinking about why we church musicians do what we do. Some of the Whys are obvious. There’s the fact that God deserves to be glorified. There’s the fact that those of us to whom He has given considerable musical talent have the obligation to give that talent back to Him. There are the social benefits we derive from the friendships we make in choirs. There are even physical benefits; it is well documented that choral singing exercises the mind and body.

We’re all aware that there are many spiritual benefits, too. But these benefits don’t end after we sing the recessional hymn. They can pervade our spiritual life—to the point where sacred music pops into our head while we’re trying to pray. Next time this happens to you, I invite you to enjoy it.

Sometimes Motets Show Up Unannounced

Here’s just one example of what I’m talking about: one Saturday in March, I was praying the 9:00 AM Mass at my parish, following along in my missal. I immediately recognized the Offertory verse:

Give light to my eyes that I may not sleep in death lest my enemy say, I have overcome him. (Ps 12: 4-5)

The mere sight of this verse plunged me into a favorite motet that uses this text: O Bone Jesu by Loyset Compere. This piece is pure, sweet, and simple. If you can spare three minutes, I think you’ll really enjoy it:

 

(I love this piece so much that, at the kind invitation of Jeff Ostrowski, I recently discussed it in an online conversation with several of my colleagues here at Corpus Christi Watershed.)

As I let my missal fall away, I couldn’t help but audiate (a fancy word for hearing music in your mind) the rest of the motet, breathing, pausing, moved almost to tears at the unexpected arrival of this innocent bit of beauty just minutes after COVID-19 precautions had been announced from the pulpit. This motet pulled me more deeply into the Mass by speaking to me in my native language. Glancing around the church, I noticed several of my choir members and hoped that the motet was speaking to them, too.

This was hardly a fluke occurrence in my life. In fact, it happened again two days ago. In between my Saturday errands, I dropped into my church around mid-day to pray and ended up including Sext from the Divine Office. The first psalm was none other than Psalm 103: Benedic anima mea.

I don’t know about you, but when I read that text, I can’t help audiating this delicious setting by Claudin de Sermisy:

 

Perhaps you’d prefer to audiate Orlando di Lasso’s composition on the same text—but you’ll still understand the concept.

The Reward of a Life Lived in Music

I used to think that to stop and audiate the many motets I encounter within the Divine Office was to embrace distractions in prayer. But then I realized that it can be an excellent way to meditate on the text. We’re supposed to be praying the words we sing in choir, so why not sing—at least mentally—the words we recite in the Divine Office?

[One might ask at this point: why not simply chant the Divine Office? Yes, this is a laudable practice, but it’s not what I’m getting at. I’m arguing that if you’re silently reading the Office—or perhaps engaging in lectio divina—and a motet creeps into your mind, it might be most beneficial just to let it happen!]

These are moments of grace for any choir member because they can help us avoid “plowing through” Scripture. Suddenly, the psalms jump off our page or screen and come to life. Instead of waiting for our imagination to supply our intellect with a helpful image for meditation, we can immerse ourselves in the sonic experience of a psalm, using the composer’s genius to guide us through the words.

This is the reward of a life lived in music. Music is a language, but it does not supplant our own. Rather, it enlivens our words so that they can penetrate the soul with the fullness of their meaning—and enlighten our eyes in any circumstance.

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

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Filed Under: Articles Tagged With: prayer Last Updated: May 19, 2020

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About Keven Smith

Keven Smith, music director at St. Stephen the First Martyr, lives in Sacramento with his wife and five musical 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

Dom Vitry never claimed chant could not be used successfully with English words. No one need take my word for it. He was a pioneer on the matter of vernacular adaptation, and I need only refer you to the many publications of his own “Fides Jubilans” press. What he said was that adaptation involved some mutilation, and that we were faced with one or the other.

— Monsignor Francis P. Schmitt (1963)

Recent Posts

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  • 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”

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