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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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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

“I am of the opinion, to be sure, that the old rite should be granted much more generously to all those who desire it. It’s impossible to see what could be dangerous or unacceptable about that. A community is calling its very being into question when it suddenly declares that what until now was its holiest and highest possession is strictly forbidden and when it makes the longing for it seem downright indecent.”

— Cardinal Ratzinger, 1997

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