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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

Worship the Lord in Holy Attire

Mark Haas · July 12, 2025

OME YEARS AGO my wife and I were blessed with a beautiful ten-day cruise through the Eastern Caribbean. Among the many joys of that vacation—sunshine, fine dining, and serene ocean views—there was one particular moment I will never forget. As part of the cruise experience, there was formal dinner evening. Wanting to strike the right note, I opted for what I considered to be a fitting “Caribbean formal” look: a collared shirt, pleated khaki shorts, and penny loafers. However, as we approached the dining hall, a polite staff member gently blocked our entrance and said with a smile and charming accent, “Sorry sir. No short pants.”

It was a small embarrassment, but also a lesson: there are times and places where our attire should reflect the dignity of the occasion.

Set apart • As Catholics, we receive an invitation far more profound than any cruise dinner on the Lido deck. Each week, we are called to participate in the greatest feast this side of heaven: the Holy Sacrifice of the Mass. “Blessed are those who are called to the supper of the Lamb” (Revelation 19:9). This is no ordinary meal. It is the source of our strength, the summit of our worship, and a foretaste of the heavenly banquet.

So, how do we set ourselves apart for something so sacred? One answer: we dress for the occasion.

Of course, there is no strict dress code for Mass. The Church does not impose regulations on fashion. “Come as you are,” many say—and rightly so, for Christ welcomes all. Yet this does not mean that attire is irrelevant. Rather, it gives us the freedom to express, through our clothing, the reverence and love we carry in our hearts. As sacred musicians, we can make an intentional effort to visually set ourselves apart for Mass.

What does the Church say? • The Church teaches that sacred music is not a mere ornament to the liturgy—it is integral. “Sacred music is to be considered the more holy, the more closely connected it is with the liturgical action” (Sacrosanctum Concilium, 112). Just as the priest and deacon wear vestments to signify their role in the mysteries being celebrated, so too should those who serve in the music ministry consider how their outward appearance reflects the sacred nature of their role.

Psalm 29:2 instructs us to “Adore the Lord in holy attire,” and Psalm 96:9 echoes, “Worship the Lord in holy attire.” These are not just poetic lines—they are invitations to align our outward appearance with the sanctity of the liturgy. When the choir ascends to the loft or stands before the congregation, they are not performers, but ministers. Their voices lift the hearts of the faithful to God; their presence should reflect the dignity of their calling.

Indeed, the Catechism reminds us that “Bodily gestures, such as … clothing, can express the dispositions of our hearts” (CCC 1151). Dressing with care and reverence for Mass is a sign—not just to God, but to others—of our awareness of the sacred. Choir members are not bystanders; they are active participants in the Mass offering. Indeed, everyone in the room is actively present to offer sacrifice. The traditional term used to be that everyone would “assist at Mass.” And like the reader who might don an alb, or the altar server who puts on a cassock, choir members, too, are set apart to assist in this sacred ritual.

What do the Saints say? • Pope St. John Paul II emphasized this liturgical identity when he said, “In the celebration of the liturgy, the entire assembly is involved: each person has a part to play, and each part is important, for together they form the Body of Christ in worship.” For the choir, this means embracing both the musical and visual witness that their ministry entails.

Some might argue that dress is subjective, and indeed, the Church does not impose a strict dress code for Mass. Yet the absence of law is not the absence of meaning. Dressing well for Mass, particularly for those who serve, is not about vanity or fashion. It is about reverence. As choir members, our attire should say, “This moment matters. I am not at a rehearsal. I am standing on holy ground.”

The Second Vatican Council reminds us that liturgical ministers “should discharge their office with the sincere devotion and decorum demanded by so exalted a ministry” (Sacrosanctum Concilium, 29). What we wear can reflect our interior devotion, and in turn, invite the faithful into a deeper reverence.

Saint John Chrysostom once advised, “When you are going to church, prepare yourself as if you were going to heaven; for it is heaven itself that you are about to enter.” The choir, like the clergy and servers, leads others into this heavenly mystery—not only by sound, but by example.

Conclusion • So let us, as ministers of sacred music, recommit ourselves to this task. Let us prepare our voices, our hearts, and yes—even our clothing—to reflect the greatness of the God we serve. Let us lead by example. Whether in robes, coordinated dress, or modest Sunday-best, may our appearance match the dignity of our role.

“Adore the Lord in holy attire.” This call is not only poetic—it is prophetic. May we, the ministers of music, rise to meet it with joy, humility, and reverence.

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

Filed Under: Articles Tagged With: Children at Mass, Etiquette, Liturgy of the Second Vatican Council, Traditional Catholic Vestments Last Updated: July 12, 2025

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About Mark Haas

Mark Haas is a composer and speaker whose music has been sung in over 600 parishes and 10 countries. He serves as the Music Director at Ave Maria Parish in Ave Maria, Florida where he lives with his wife and seven children.—(Read full biography).

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President’s Corner

    “Music List” • All Souls (2 November)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 2 November 2025, which is the Commemoration of All the Faithful Departed (“All Souls”). 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 top-notch feasts website alongside the official texts in Latin.
    —Jeff Ostrowski
    2-Voice Arr. • “Creator of the Starry Height”
    Do you direct a choir consisting of women or children only? (Some call this a “treble” choir.) Download a two-voice arrangement of Creator of the Starry Height set to the tune of IOANNES by clicking here and then scrolling to the bottom. In our times, this hymn is normally used during ADVENT, and the Latin title is: Cónditor alme síderum. It’s important to say “cónditor”—placing the accent on the antepenult—because ‘condítor’ in Latin means “one who embalms the dead.”
    —Jeff Ostrowski
    “Equal Voices” Choir Pieces
    My colleague, CORRINNE MAY, has posted some delightful compositions for equal voices: that is, choirs consisting of all men or all women. Included there are settings of the “Ave Maria” and “Tantum Ergo.” They strike me as relatively simple and not excessively lengthy. (In other words, within reach of volunteer singers.) Even better, all the scores have been made available as instant PDF downloads, completely free of charge. Bravo!
    —Jeff Ostrowski

Quick Thoughts

    “Our Father” • Musical Setting?
    Looking through a Roman Catholic Hymnal published in 1859 by Father Guido Maria Dreves (d. 1909), I stumbled upon this very beautiful tune (PDF file). I feel it would be absolutely perfect to set the “Our Father” in German to music. Thoughts?
    —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
    “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

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)

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