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Jesus said to them: “I have come into this world so that a sentence may fall upon it, that those who are blind should see, and those who see should become blind. If you were blind, you would not be guilty. It is because you protest, ‘We can see clearly,’ that you cannot be rid of your guilt.”

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Views from the Choir Loft

Musician, Know Thy Theology!

Daniel Tucker · May 22, 2023

T A RECENT GATHERING of parish music directors, I was disappointed to hear how many of my colleagues in church music were perfectly willing to outsource their knowledge of theological orthodoxy – and particularly Eucharistic theology – to various third parties, like publishing companies or composers.

“Well, if it’s in the hymnal, it must be approved, right?”
Wrong.
“Well, if the hymn is written by a Catholic person, then we know it’s good to go, right?”
Not necessarily.
“Well, how am I supposed to know if a hymn is theologically orthodox or not?”
(This is the point where my brain makes a record-scratching sound and all time seems to stop…)

Dear reader, it is up to you – you! whether you are the music director, the liturgist, the cantor, the deacon, the choir member, and (please God) especially if you are the priest – to ensure that the theological content of the music at your parish is faithful to the unchanging teachings of the holy Catholic Church.

Most people in the pews are not theologians. Most people in the pews don’t even bother to study the Faith – whether in groups at the parish or even by themselves. It’s a sad state of affairs, but I think we must conclude that the full extent of the theological education of most people in the pews, the full diet of light and truth on which they feed themselves, is comprised of only two things: 1) the text of the homily, and 2) the text of the liturgical music.

If for no other reason than this, it is essential that those of us who are responsible for deciding which texts these are be certain that we are giving our parishioners the best “foods” possible. Of course, one of the main advantages of using the sung Proper texts at the Introit, Offertory, and Communion is that they are certainly safe, being “drawn chiefly from sacred Scripture,” as Sacrosanctum concilium envisions. But for those parts of the sacred liturgy where hymnody is also employed, I entreat you, dear reader, to know the truths of our Catholic faith well enough to know for yourself that a hymn which speaks of “bread and wine” remaining after the Consecration is making a false claim about reality: they are no longer bread and wine but the Body and Blood of Our Lord. To know for yourself that we do not “sing a new Church into being,” but rather are incorporated through baptism and the succeeding sacraments into the one, holy, catholic, and apostolic Church founded by Christ himself. To know for yourself that we believe in one God in three Persons and the Blessed Trinity does not have “parts” (after all, “that’s partialism, Patrick!”).

Where to begin educating yourself, your staff, or your parishioners on orthodox theology for hymn texts? One excellent place to start would be by reading (and re-reading! and sharing!) the USCCB Committee on Doctrine’s 2020 document Catholic Hymnody at the Service of the Church: An Aid for Evaluating Hymn Lyrics. And after you’ve dipped your toes into the waters with that, read the entire section of the Catechism of the Catholic Church on Eucharistic theology (paragraphs 1322-1419). And after that, go plop yourself down in front of the Most Blessed Sacrament and thank the Lord Jesus Himself for the many graces that you have been given: to be His beloved son or daughter. To be a Catholic! And to have a share in leading others to Him.

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

Filed Under: Articles Last Updated: May 23, 2023

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About Daniel Tucker

Daniel Tucker is choirmaster at the Cathedral of St. Matthew in South Bend, IN. He holds degrees from Western Michigan University and Yale University. —(Read full biography).

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Corpus Christi Watershed

President’s Corner

    “Music List” • 6th Sunday of Easter (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 6th Sunday of Easter (25 May 2025). If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and propers for this Sunday are provided at the the feasts website.
    —Jeff Ostrowski
    “Gloria in Spanish” • Free Accompaniment
    Several people have requested an organ accompaniment for the GLORY TO GOD which prints the Spanish words directly above the chords. The Spanish adaptation—Gloria a Dios en el cielo—as printed in Roman Misal, tercera edición was adapted from the “Glória in excélsis” from Mass XV (DOMINATOR DEUS). I used to feel that it’s a pretty boring chant … until I heard it sung well by a men’s Schola Cantorum, which changed my view dramatically. This morning, I created this harmonization and dedicated it to my colleague, Corrinne May. You may download it for free. Please let me know if you enjoy it!
    —Jeff Ostrowski
    How Well Does ICEL Know Latin?
    This year, the Feast of Saints Peter and Paul (29 June 2025) will fall on a Sunday. It’s not necessary to be an eminent Latin scholar to be horrified by examples like this, which have been in place since 1970. For the last 55 years, anyone who’s attempted to correct such errors has been threatened with legal action. It is simply unbelievable that the (mandatory) texts of the Holy Mass began being sold for a profit in the 1970s. How much longer will this gruesome situation last?
    —Jeff Ostrowski

Quick Thoughts

    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
    When to Sit, Stand and Kneel like it’s 1962
    There are lots of different guides to postures for Mass, but I couldn’t find one which matched our local Latin Mass, so I made this one: sit-stand-kneel-crop
    —Veronica Brandt
    The Funeral Rites of the Graduale Romanum
    Lately I have been paging through the 1974 Graduale Romanum (see p. 678 ff.) and have been fascinated by the funeral rites found therein, especially the simply-beautiful Psalmody that is appointed for all the different occasions before and after the funeral Mass: at the vigil/wake, at the house of the deceased, processing to the church, at the church, processing to the cemetery, and at the cemetery. Would that this “stational Psalmody” of the Novus Ordo funeral rites saw wider usage! If you or anyone you know have ever used it, please do let me know.
    —Daniel Tucker

Random Quote

“Been to Catholic church and heard Mass. Execrable music! Organ played by a young girl who made impossible harmonies. Sermon very long. The preacher screamed loud enough to tire his lungs. The congregation was affected.”

— Louis Moreau Gottschalk (8 May 1864)

Recent Posts

  • “Music List” • 6th Sunday of Easter (Year C)
  • “Can the Choir Sing Alone at Mass?” • Yes! And Here’s Why That Matters
  • “Gloria in Spanish” • Free Accompaniment
  • How Well Does ICEL Know Latin?
  • Nobody Cares About This! • 1887 Rheims-Cambrai Gradual included “Restored” Plainsong

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