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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

Join Your Parish Choir! • Why We Sing as a Faith Community

Richard J. Clark · November 22, 2022

N THIS FEAST of Saint Cecilia we remember in gratitude God’s great gift of song. This gift smiles upon our prayer as music expresses what words cannot. Supplication to God which emanates from the fathoms of our being often finds its true voice in song. Words may fail us in sorrow, pain, gratitude, and in joy. Music is the emissary of the heart.

While deeply personal, music is also a public expression, one that can place individuals in a vulnerable position by risking such exposure. But music is a unifying force in our communities. We are by nature social beings, and called to serve one another and lift each other up.

 

Why do we sing? God is there!

Why do we sing? Why sing at Mass? This is a loaded question! I’m not going to tell you how it is. You have perfectly valid reasons within your own heart. The Church puts forth its case on many levels. Both must be deeply explored together.

*(Disclaimer: Everything I write is just as much to remind myself, as it is to share with others!)

We do know God is present in various ways including when we sing:

“He is present in the sacraments…He is present in His word…He is present…when the Church prays and sings, for He promised: “Where two or three are gathered together in my name, there am I in the midst of them” (Matt. 18:20). (Constitution on the Sacred Liturgy § 7)

Saint Augustine is attributed with the saying, “He who sings once, prays twice.” There is great wisdom in this regardless of its origin. Saint Augustine has said, “To sing is a sign of love. The singer of this new song is full of the warmth of God’s love.” (Sermon 336)

Quite fascinating is the context of Augustine’s words on singing: the celebration of the dedication of a Church. His wisdom teaches us love in a faith community:

“But Christians do not make a house of God until they are one in charity. The timber and stone must fit together in an orderly plan, must be joined in perfect harmony, must give each other the support as it were of love, or no one would enter the building…Therefore, to be raised up from your former state of ruin you must love one another. ” (Ibid.)

But what greater love is His sacrifice, which was offered on the cross for all? Our thanksgiving and joy may best find its voice in song. But to speak of music in the liturgy, to speak of community, one must first talk about the Eucharist which is the fabric of community and all our being.

Community is intrinsically tied to the Eucharist.

We cannot isolate from each other our encounter with the Divine. Sacrament, scripture, and prayer unite us in love in God’s presence. From Lumen Gentium §11:

“Taking part in the Eucharistic sacrifice, which is the fount and apex of the whole Christian life, they offer the Divine Victim to God, and offer themselves along with It.”

Pope Francis echoes this directly in his Apostolic letter Desiderio Desideravi § 37:

“There is no aspect of ecclesial life that does not find its summit and its source in the Liturgy…the consequence of placing the Sunday Eucharist, the foundation of communion, at the centre of the life of the community.”

The Eucharist is something in which we, the community — the Body of Christ participate.

From the catechism of the Catholic Church, §1322: “The holy Eucharist completes Christian initiation. Those who have been raised to the dignity of the royal priesthood by Baptism…participate with the whole community in the Lord’s own sacrifice by means of the Eucharist.”

We see over and over that the community is intrinsically tied to the Eucharist. From the Constitution on the Sacred Liturgy § 7:

“[I]n the liturgy the whole public worship is performed by the Mystical Body of Jesus Christ, that is, by the Head and His members.”

As members of the Body of Christ, we are reminded that we participate in the Lord’s own sacrifice. Therefore, (as Alan Hommerding reminds us) the Eucharist is not just a thing or an object to behold. Our celebration is a communal participation and our response is an action. We are not passive in the presence of God. The Eucharist is our sacramental food to go into the world and bear fruit that will last (John 15:16).

Sacred Song is Prayer 

Sacred song is prayer. In this prayer God dwells among us. As a consequence, we are reminded of Lex Orandi, Lex Credendi, and Lex Vivendi: The rule of prayer is the rule of belief, which leads to the rule of how we live out our lives — and quite bluntly, how we treat each other.

What we pray – how we pray – and sing – forms our belief which informs our action. The faith community is formed by what we sing. This is the power of song. This power is a call to responsibility for one another. What and how we sing is an act of love and of service. Each rehearsal is a prayer. Each carefully prepared song is a fulfillment of Jesus’ greatest Commandment to “Love one another.” God and each other is all we have.

Will I Make a Difference?

Whether in your parish choir or in the pews, if you think your voice may not make a difference, consider the following from Gaudium et Spes (“Joy and Hope” 1965 Vatican II) §8:

“The Paschal hymn, of course, does not cease when a liturgical celebration ends. Christ, whose praises we have sung, remains with us and leads us through church doors to the whole world, with its joys and hopes, griefs and anxieties.”

Remember this always: One never knows the pain, griefs, anxieties, hopes, joys, burdens, that one carries when they enter the doors of our churches, our parish communities. You will impact people’s lives in ways that you will never know. You will alter their lives for the better and forever. Your song may offer the one bit of hope that someone needs.

Your act of love through song ushers beauty to human hearts. Such beauty is redemptive and salvific.

But the Church is in a difficult state

Yet, the Church is in a difficult state, wrestling with its own horrific sins and struggling post-pandemic to welcome back with open arms a dispersed flock. Many parishes struggle to get families, parishioners, servers, and ministers to return. Many choirs are rebuilding with no recruitment or development for two years. This makes your presence, your voice, your witness to the love of Christ that much more important!

Why persist?

We persist because when one sings, the Kingdom of God is found not beyond one’s reach, but within your own heart. We persist because we offer an example of service to others. We persist because we give witness to the love for all of Jesus Christ who died for all. We persist because singing is a treasure of inestimable value to be pursued inexorably. We persist as song brings us closer in relationship with God and with each other. We sing to answer God’s call to love one another. We persist because of the deep need groaning within our soul to sing God’s praise.

The Mustard Seed

As many children and adult choirs rebuild, always remember: singing even with smaller numbers is like the mustard seed:

Matthew 13: 31-32 “The kingdom of heaven is like a mustard seed that a person took and sowed in a field. It is the smallest of all the seeds, yet when full-grown it is the largest of plants. It becomes a large bush, and the ‘birds of the sky come and dwell in its branches.’”

DO NOT BE DISCOURAGED, but be joyful! The small or imperfect efforts we make now become the mustard seed that transforms a life forever. The seed you plant may convert one soul or many souls. The seeds you plant may in time save us all. Be joyful. It is time to reclaim our humanity with song. It is past time to reclaim our role in the sung Mass glorifying God and bring our brothers and sisters close to God. Sacred music, a healing balm is needed now more than ever.

Finally, it must be understood that the simple is often beautiful. We do not have endless resources, financial and otherwise, to create the most beautiful sacred liturgy. We must do what is possible. The simplest of chant and inspired melody, sung well and with prayerful heart expresses truth. One might evoke Pope Francis who calls for a Church of and for the poor. In the recognition of all human dignity, the poor especially deserve truth from which beauty emanates. The greatest beauty often comes from the least among us.

Soli Deo gloria
To God alone the Glory

Oremus pro invicem
Let us pray for each other.

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

Filed Under: Articles Tagged With: Catholic Youth Choirs, choir, community, faith, love, Saint Augustine, Saint Cecilia, singing at Mass Last Updated: November 21, 2022

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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

    PDF Comparison Chart • “Serious Problems with the Lectionary Translation”
    EARS BEFORE truly revolutionary changes were introduced by the post-conciliar reformers, Evelyn Waugh wrote (on 16 August 1964) to John Cardinal Heenan: “I think that a vociferous minority has imposed itself on the hierarchy and made them believe that a popular demand existed where there was in fact not even a preference.” We ask the kind reader— indeed, we beg you—to realize that those of us born in the 1940s and 1950s had no cognizance of Roman activities during the 1960s and 1970s. We were concerned with making sure we had the day’s bus fare, graduating from high school, taking care of our siblings, learning a trade, getting a job, courting a spouse. We questioned neither the nuns nor the Church.1 Do not believe for one instant any of us were following the liturgical machinations of Cardinal Lercaro or Father Bugnini in real time. Setting The Stage • To never question or resist Church authorities is praiseworthy. On the other hand, when a scandalous situation persists for decades, it must be brought into focus. Our series will do precisely that as we discuss the Lectionary Scandal from a variety of angles. We don’t do this to attack the Catholic Church. Our goal is bringing to light what’s been going on, so it can be fixed once and for all. Our subject is extremely knotty and difficult to navigate. Its complexity helps explain why the situation has persisted for such a long time.2 But if we immediately get “into the weeds” we’ll lose our audience. Therefore, it seems better to jump right in. So today, we’ll explore the legality of selling these texts. A Word On Copyright • Suppose Susie modifies a paragraph by Edgar Allan Poe. That doesn’t mean ipso facto she can assert copyright on it. If Susie takes a picture of a Corvette and uses Photoshop to color the tires blue, that doesn’t mean she henceforth “owns” all Corvettes in America. But when it comes to Responsorial Psalm translations, certain parties have been asserting copyright over them, selling them for a profit, and bullying publishers vis-à-vis hymnals and missals. Increasingly, Catholics are asking whether these translations are truly under copyright—because they are identical (or substantially identical) to other translations.3 Example After Example • Our series will provide copious examples supporting our claims. Sometimes we’ll rely on the readership for assistance, because—as we’ve stressed—our subject’s history couldn’t be more convoluted. There are countless manuscripts (in Greek, Hebrew, and Latin) we don’t have access to, so it would be foolish for us to claim that our observations are somehow the ‘final word’ on anything. Nevertheless, we demand accountability. Catholics in the pews are the ones who paid for all this. We demand to know who specifically made these decisions (which impact every English-speaking Catholic) and why specifically certain decisions were made. The Responsorial Psalms used in America are—broadly speaking—stolen from the hard work of others. In particular, they borrowed heavily from Father Cuthbert Lattey’s 1939 PSALTER TRANSLATION:
    *  PDF Download • COMPARISON CHART —We thank the CCW staff for technical assistance with this graph.
    Analysis • Although certain parties have been selling (!!!) that translation for decades, the chart demonstrates it’s not a candidate for copyright since it “borrows” or “steals” or “rearranges” so much material from other translations, especially the 1939 translation by Father Cuthbert Lattey. What this means in layman’s terms is that individuals have been selling a translation under false pretenses, a translation they don’t own (although they claim to). To make RESTITUTION, all that money will have to be returned. A few years ago, the head of ICEL gave a public speech in which he said they give some of “their” profits to the poor. While almsgiving is a good thing, it cannot justify theft. Our Constant Theme • Our series will be held together by one thread, which will be repeated constantly: “Who was responsible?” Since 1970, the conduct of those who made a profit by selling these sacred texts has been repugnant. Favoritism was shown toward certain entities—and we will document that with written proof. It is absolutely essential going forward that the faithful be told who is making these decisions. Moreover, vague justifications can no longer be accepted. If we’re told they are “making the translations better,” we must demand to know what specifically they’re doing and what specific criteria they’re following. Stay Tuned • If you’re wondering whether we’ll address the forthcoming (allegedly) Lectionary and the so-called ABBEY PSALMS AND CANTICLES, have no fear. We’ll have much to say about both. Please stay tuned. We believe this will end up being the longest series of articles ever submitted to Corpus Christi Watershed. To be continued. ROBERT O’NEILL Former associate of Monsignor Francis “Frank” P. Schmitt at Boys Town in Nebraska JAMES ARNOLD Formerly associated w/ King’s College, Cambridge A convert to the Catholic Church, and distant relative of J. H. Arnold MARIA B. Currently serves as a musician in the Roman Catholic Diocese of Charlotte. Those aware of the situation in her diocese won’t be surprised she chose to withhold her last name.
    1 Even if we’d been able to obtain Roman journals such as NOTITIAE, none of them contained English translations. But such an idea would never have occurred to a high school student or a college student growing up in the 1960s. 2 A number of shell corporations claim to own the various biblical translations mandated for Roman Catholics. They’ve made millions of dollars selling (!) these indulgenced texts. If time permits, we hope to enumerate these various shell corporations and explain: which texts they claim to own; how much they bring in each year; who runs them; and so forth. It would also be good to explore the morality of selling these indulgenced texts for a profit. Furthermore, for the last fifty years these organizations have employed several tactics to manipulate and bully others. If time permits, we will expose those tactics (including written examples). Some of us—who have been working on this problem for three decades—have amassed written documentation we’ll be sharing that demonstrates behavior at best “shady” and at worst criminal. 3 Again, we are not yet examining the morality of selling (!) indulgenced texts to Catholics mandated to use those same translations.
    —Guest Author
    “Music List” • 17th in Ordinary Time (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 17th Sunday in Ordinary Time (27 July 2025). 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 the feasts website.
    —Jeff Ostrowski
    Communion • “Ask & You Shall Receive”
    All of the chants for 27 July 2025 have been added to the feasts website, as usual under a convenient “drop down” menu. The COMMUNION ANTIPHON (both text and melody) are exceedingly beautiful and ancient.
    —Jeff Ostrowski

Quick Thoughts

    Pope Pius XII Hymnal?
    Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.
    —Corpus Christi Watershed
    “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

Random Quote

“…it would be a very praiseworthy thing and the correction would be so easy to make that one could accommodate the chant by gradual changes; and through this it would not lose its original form, since it is only through the binding together of many notes put under short syllables that they become long without any good purpose when it would be sufficient to give one note only.”

— Zarlino (1558) anticipating the Medicæa

Recent Posts

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  • “Music List” • 17th in Ordinary Time (Year C)
  • Flor Peeters In A Weird Mood?
  • Communion • “Ask & You Shall Receive”
  • Jeff’s Mother Joins Our Fundraiser

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