💰 Are Church Musicians Paid Too Little?

Since our blog was founded in 2010, thousands of people have written to us. In those emails, the topic of “proper compensation” for church musicians has been broached more than any other subject. Pope Leo XIII discussed the concept of a just wage extensively. Since we have a new pope (Leo XIV), addressing this subject seems like a decent idea.

NLY A FOOLISH AUTHOR would publish an article attempting to prove that “all bishops” are good or bad. The Catholic Church numbers more than 1.3 billion in her fold; we can’t begin to address all of them in a few paragraphs. Doing so would require generalizations so broad they would be worthless. On the other hand, I’ve been a professional choirmaster for close to 30 years. Due to experiences I’ve gained—throughout the United States—I feel comfortable drawing the reader’s attention to a few observations vis-à-vis whether church musicians are paid too little, or whether they’re compensated sufficiently.

Article Overview • I have assembled some thoughts for your consideration below. Some of these were ‘provoked’ by emails we’ve received over the last 15 years. (If I stole some of the ideas you wrote to me in your emails, please forgive me.) However, before I make these observations, I’d like to share with you a choral extension married to the SIMPLE SETTING IN HONOR OF SAINT RENÉ GOUPIL. The polyphony is by Father Francisco Guerrero (d. 1599). During the course of my article, it will become clear why I’m sharing this with you:

*  PDF Download • AGNUS DEI with Choral Extension
—‘Simplex’ setting (René Goupil) + polyphony by Francisco Guerrero.

Not All Cases • At the outset, I must reiterate something important. Just because a particular choirmaster complains constantly about being underpaid doesn’t make it so. There are ‘bad eggs’ in our field, just like any other field. For example, all of us know priests who are smart, kindhearted, and holy. On the other hand, certain priests I’ve encountered (even pastors of cathedrals or TLM communities) are venomous, dishonest, and take delight unloading the most shameful calumnies on their victims. Without question, then, some church musicians are overpaid and do great damage to our profession. They look down on everyone else, considering themselves “artists” above approach. They have a ridiculously high opinion of their own abilities, but—due to a variety of factors—are unable to see their own glaring deficiencies. Let’s leave such people to one side.

(1 of 5) Salary Considerations • Broadly speaking, I feel that choirmasters are paid too little. The major reason is because they’re responsible for the success or failure of the parish music program. After all, if somebody else does the work of recruiting students for me, provides a classroom for us, tells me when I’m expected to teach on which days, secures an instrument and desks, furnishes a curriculum I must follow, and provides me with scores they want me to teach—this is child’s play. Nothing could be simpler! But that’s not what the conscientious choirmaster does.

(2 of 5) Salary Considerations • As choirmasters, we’re responsible for everything (unless you’re lucky enough to land an extremely cushy job). It’s our responsibility to recruit singers from the pews. A choirmaster with no choir to train won’t retain his job for very long. It’s our responsibility to plan repertoire—and this is an enormous and crushing responsibility, upon which everything depends (see below). Frequently, it’s necessary for us to compose or arrange repertoire. If we need to purchase scores, we must devise ways to raise the requisite funds. It’s our responsibility to plan the sacred liturgy—in terms of locating, transcribing, preparing, and printing the correct texts & translations in Latin, English, Spanish, and so forth. Because of the lack of emphasis placed on learning music in the current American society (as well as the “TIKTOK effect” on our attention spans) it will often be necessary for the choirmaster to produce or procure training videos to save rehearsal time. Production of such instructional videos can require immeasurable effort and time.

(3 of 5) Salary Considerations • A moment ago, I said that the massive responsibility of planning repertoire falls upon the choirmaster. What does this mean? Let me try to explain. One must try to figure out (“guess”) how many singers one will have for each feast. How many will one be able to recruit? What if (on a particular Sunday) they’re out of town, sick, or busy? What effect will their absences have on the ensemble’s ability to sing the repertoire? How many of your singers read music? How many of them have problems—issues matching pitch, incorrect vowels, bad musicality, vocal problems, and so forth—which will require your assistance to address? What is a reasonable amount of progress that can expected with regard to such problems, and how much rehearsal time can be devoted to them without causing the other members to quit? For those with serious musical deficiencies, how much time during rehearsals can be devoted to remedial training? With the infinitesimal time we have to work with our volunteers, what specific repertoire should be chosen? Needless to say, if the music is boring and overly “babyfied,” singers with greater experience will get fed up and withdraw their services. With such limited rehearsal time, how much ‘musical diversity’ is too much? When I say musical diversity I mean that authentic sacred music can be accompanied by the organ or a cappella; Contemporary or Renaissance; Medieval or Baroque; Plainsong or Polyphony; and so forth.

(4 of 5) Salary Considerations • Those are just a few of the obstacles that conscientious choirmasters must overcome when ‘planning’ or ‘choosing’ or ‘dreaming up’ repertoire. During the annual Sacred Music Symposium, I have repeatedly claimed that choosing the right repertoire is 100% ‘make or break’—that is to say, it is without question the most important part of the choirmaster’s job. Moreover, it’s crucial to be aware that—throughout 2,000 years of church history—there have existed many different styles of church music. Because of access to recording technology (such as radio, records, cassettes, CDs, DVDs and the internet), music directors and organists are expected to be proficient in a zillion different styles. That’s quite unfair, because a lifetime of study is required to be truly proficient in even one style … unless you’re a superhuman genius like Franz Liszt, Josef Hoffmann, Camille Saint-Saëns, Felix Mendelssohn, Glenn Gould, Sebastian Bach, or somebody of that caliber.

(5 of 5) Salary Considerations • I’d like to briefly repeat the main point I’m trying to make, so there’s no danger of misunderstanding. The choirmaster’s job would be easy if one could simply follow a plan. In that case, nothing would be his fault! If the music sounds horrible, that’s not his fault—because he followed the plan! But in real life, there is no plan. Each parish and each situation requires a different approach. Very few priests will ever say: “The music at Mass sounds horrible, but don’t worry. I don’t blame you.” Readers know who will get blamed. Most priests don’t understand the pressure we face on a daily basis. Most priests don’t understand the lengths we go to when it comes to preparing music, recruiting singers, planning rehearsals, training our singers, comforting our singers, and so forth. Most priests don’t understand that if half the choir is absent—which happens sometimes—the music is going to suffer tremendously. I think we would be foolish to believe anyone will be blamed except us, in spite of the fact that (in many instances) it’s not our fault choir members are absent.

(a) Treasury Of Choral Music • The Catholic Church is currently recovering from a liturgical ‘crisis’ or ‘upheaval’ or ‘revolution’ that took place after Vatican II. For the last 15 years on this weblog, we’ve spoken about this crisis, and from time to time even had occasion to document it—so I won’t repeat all that information today. Suffice it to say that a whole bunch of crazy stuff took place (and continues to take place) in certain dioceses. For instance, Vatican II solemnly declared that “the treasury of sacred music is to be preserved and fostered with very great care.” The precise Latin words used were: “THESAURUS MUSICAE SACRAE.” (Whenever Monsignor Francis P. Schmitt referred to the Thesaurus, that’s what he was referring to.) But during the 1970s, the Thesaurus was downplayed, mocked, disparaged, and even considered outlawed by certain priests and bishops!

(b) Treasury Of Choral Music • Readers won’t be shocked when I reveal that the THESAURUS MUSICAE SACRAE is not valued by all Catholic priests and bishops as mandated by the most recent œcumenical council. As a result, there’s a tension. The ‘tension’ arises between musicians who attempt to follow the mandates of Vatican II—or at least not completely ignore them—and priests and bishops who feel the Thesaurus should be banned. Some even claim Vatican II eliminated the Thesaurus … but the opposite is true! The council fathers explicitly declared that the Thesaurus “must be preserved and fostered with very great care.” Please don’t ask me to explain why some priests and bishops pretend “preserve and foster with very great care” means “ruthlessly belittle and prohibit.”

(c) Treasury Of Choral Music • So that’s where this tension comes into play. The conscientious choirmaster reads the documents of Vatican II and takes note of all its mandates. I could quote many other paragraphs, but let’s stay focused on the injunction which says the Thesaurus must be “preserved and fostered with very great care.” As a result, the conscientious choirmaster will select repertoire from the Thesaurus for the choir he’s directing. Could anything be more natural? But the ‘tension’ arises when the parish priest says the Thesaurus interferes with “the type of participation called for by Vatican II.” Or the priest may say the Thesaurus is not suitable for the reformed Mass. Both of these assertions contradict the explicit mandate of Vatican II.

(d) Treasury Of Choral Music • Of course, there will always be priests who say: “Who cares what was mandated by Vatican II. I’m in charge, and I demand that everything be done my way.” In such a circumstance, a serious musician must resign his post and seek employment at another parish. But if the parish priest takes seriously the explicit mandates of Vatican II, he will work in collaboration with the choirmaster to make sure the Thesaurus is included during Mass. A parish priest who is honest will recognize that the congregation doesn’t have to be speaking 100% of the time to participate properly at the Mass. During the homily, for instance, the people just sit there listening. The same is true during the Responsorial Psalm. They just sit there listening.

(e) Treasury Of Choral Music • We must reject the idea that Mass is a ‘vocal concert’ for the congregation. It’s neither necessary nor desirable for congregations to sing everything at Mass. Indeed—whether or not we’re honest enough to admit it—many people are incapable of singing: some are tone-deaf, some are handicapped, some have trouble hearing, some have breathing issues, some have throat issues, and so forth. It is technically incorrect to speak of the “entire congregation” singing, just as it would be incorrect to speak of the “entire congregation” getting pregnant.

But it’s wrong to claim (for instance) that someone who can’t sing due to a throat injury doesn’t really participate at Mass. Some people are so moved during Mass they shed tears, and it’s impossible to sing while one is weeping. It is false to assert that those who weep during Mass fail to participate. Indeed, PSALM 94 (often prescribed by the 1970 MISSALE ROMANUM) says: “Veníte, adorémus, et procidámus, et plorémus ante Dóminum qui fecit nos.”

(f) Treasury Of Choral Music • Someone might object: “Surely everyone can still grunt along with all the songs.” But the church documents don’t speak of ‘grunting along’ with the Thesaurus. Vatican II explicitly said the THESAURUS MUSICAE SACRAE must be “preserved and fostered with very great care.” Again, if it’s our policy to disregard and disobey Vatican II, priests and bishops have an obligation to be honest about that.

Not A Pinprick • The choir has its own ‘voice’ and role, just as priests, deacons, cantors, and congregations have their own role. It’s important to remember: the documents do not say the Thesaurus should be included in an “imperceptible” or “fairly noticeable” way, like a pinprick.

(g) Treasury Of Choral Music • The reason I shared that AGNUS DEI at the beginning of this article is because choral extensions are an excellent tool with which we can introduce the THESAURUS MUSICAE SACRAE in a way that won’t cause disruption for congregations. Many of the faithful have—quite literally—never experienced any true choral music before. This will, therefore, be a brand new experience for them.

(h) Treasury Of Choral Music • But even when the parish priest is supportive, the conscientious choirmaster still has an ‘uphill battle’ because Catholics have been cheated out of their liturgical inheritance for fifty years. When traditions are eliminated, they can’t be restored overnight: determination, patience, and communication with one’s pastor are required. This transition period can be stressful for musicians, because we have been trained as entertainers … and entertainers want to entertain! They don’t want to force traditions down somebody’s throat. At the same time, authentic Catholic music is not entertainment. In other words, no serious Catholic can endorse music at Mass composed in a secular style, a ‘goofy’ style, or an undignified style—even if certain people in the congregation request such music. The stress that can result from this noble and necessary effort demands just compensation (and even ample time for rest, vacation, thought, leisure, and recollection). We don’t want those in charge of restoring the traditions to ‘throw up their hands’ and give up.

(1 of 4) Westminster’s Archbishop • It is clear, then, that even when a musician is promoting what he knows to be true and right, doing so is a source of tremendous stress and heartache. On the one hand, the documents of Vatican II clearly and explicitly say choirmasters must teach real choral music: not ‘baby’ music, not off-Broadway tunes, not entertainment music, and not music in a secular style. On the other hand, many Catholics have become emotionally attached to such music over these last fifty years. Musicians tend to be very sensitive, as John Cardinal Heenan, the Archbishop of Westminster wrote famously about Father Peter Wallace of Los Angeles:

“He was an organist of genius and hyper-sensitive as musicians often are. This was the chief reason why he always managed to fall out with every superior. He was neither rebellious nor wayward but he took offence at the slightest opposition or rebuke. In himself he was gentle and lovable.”

(2 of 4) Westminster’s Archbishop • The cardinal is spot on! Choir directors tend to be very sensitive. Especially in large towns such as Los Angeles (where I served for 10 years), everyone tries to tell you how to do your job. A vast number—including choir members—frequently offer you unsolicited advice vis-à-vis “what you’re doing wrong” as a director. In reality, if such people were competent, they would have formed their own choirs. When someone interrupts you in the middle of rehearsal to offer unsolicited advice, the best response would probably be: “Has this been successful with the choir you direct? May I hear the results?” Of course, these people have never formed any choirs (because it’s much more difficult than they realize). So the only thing they could respond would be a feeble: “Oh, I don’t have a choir.” After that, there’s nothing else to say. However, because of the way I was brought up, I’ve never been comfortable giving that response. I would find that awkward and embarrassing—even though it’s the correct response. I never want to come across as rude or nasty, so I usually reply: “Thanks, I will take that under advisement.” For the record, I never criticize the homily of a priest, because he could rightfully ask me: “Where can I find your sermons, Jeff? Oh, you’re not a priest? Yet you feel comfortable giving unsolicited advice to priests?”

(3 of 4) Westminster’s Archbishop • Why are we so sensitive about unsolicited advice? For example, I’ve been married for almost 20 years. Suppose someone who’s divorced offered me unsolicited marital advice. Or suppose somebody who’s never been married filled my ear with a bunch of suggestions on “how to improve one’s marriage.” Needless to say, I would immediately dismiss what they say (and never think about it again). Moreover, if I wanted to be rude (which I try to avoid) I would ask: “How is that working in your marriage?” Then why is it different when people offer unsolicited advice to choir directors? The people who proffer such advice—whether in real life or online—have never been successful in forming a choir of their own. Nor have they ever stood in front of a choir. Again I ask: “Why are we so sensitive about unsolicited advice?” If you know the answer, I hope you will email me!

(4 of 4) Westminster’s Archbishop • I doubt most of us walk around giving unsolicited advice to everyone we meet. When I pass through a tollbooth on the highway, I don’t instruct the worker on how to do his job better. When I visit a dentist, I don’t offer him unsolicited advice on cleaning people’s teeth. But when it comes to directing choirs, everybody—and I mean everybody on planet earth—enjoys offering unsolicited advice. Over the decades, I have found this to be a source of stress.

Because it’s a source of stress, this should also go into the ‘calculation’ for the choirmaster’s salary. In other words, music directors are leaders who must see the big picture. They must not get bogged down by all the people who throw rocks; and this is crucial. Because each situation is so different, there really isn’t anyone they can go to for advice—they must be the leader. And ‘leading’ brings with it responsibilities.

Horowitz Rule • On 18 September 1988, Vladimir Horowitz famously told Eduardus Halim: “You don’t have to be afraid of playing for me. You know, I’m a pretty good pianist myself. I understand every pianist—what they want to do with the music—and I understand how difficult it is to be a pianist. So I am very forgiving.” Because I have directed choirs for so many years, I have made it my rule never to criticize a fellow conductor. (If they specifically ask me for advice, that’s a different situation.) When you are under someone else’s baton, you follow what they ask: period. After all, the pianism of Alfred Cortot was 180° different from Josef Hofmann, but a wise musician appreciates and loves what is excellent in both.

Almost three decades ago, when I arrived at the conservatory, I did not possess this wisdom. It was necessary for me to learn this wisdom, and sometimes my conductors gave me rude responses—which was exactly what I deserved. While it wasn’t a pleasant experience, it was absolutely necessary for me to learn.

Dr. Lucas Tappan • My colleague Dr. Lucas Tappan has pointed out that some musicians are insanely talented and “have completed more university training than a brain surgeon”—yet they receive a salary slightly higher than minimum wage. Something seems ‘wrong’ or ‘off’ or ‘incongruous’ about that. Perhaps some of our priests could take this into consideration. This weird situation calls to mind something John Cardinal Heenan (Archbishop of Westminster) wrote in 1974:

“A priest may spend hours in prayer and preach moving sermons on charity while not living at peace with clergy in the same house, with parishioners, or with superiors who do not let him have his way.”

Final Reason • I have spoken about all the work that goes on ‘behind the scenes’ for any choir director serious about his vocation. Needless to say, I’ve omitted many additional items. For example, learning to play an instrument well is a lifelong pursuit—but that’s just one skill expected of every choirmaster. Another reason many choirmasters are underpaid (in my humble opinion) is their employer’s failure to recognize that we have a ‘high stakes’ job. After all, if a university professor calls in sick at the last moment, it’s no big deal. The only result is that a few college kids don’t learn as much that day. But the vocation of a choirmaster is different. If the choirmaster fails to show up, an entire wedding or funeral—a once-in-a-lifetime event—can be totally ruined. The public isn’t privy to whether a university professor shows up, but everybody in the church suffers if the music at Sunday Mass is a disaster. Only a very rare assistant can adequately replace a director who fails to show up. We have been discussing salaries for church musicians, and I’m simply pointing out that we must show up, even when we feel sick or depressed. This is part of the ‘behind the scenes’ work. There’s an old saying: “The show must go on.” The bride can be late, and the priest can be late—but no matter what, we are expected to be there.¹

Concluding Thoughts • I grew up in Kansas, where tree limbs contained great moisture. As a result, they were quite hard to light on fire. Newspaper, kindling, and other materials were required. Even a blow torch wouldn’t do the trick, owing to the moisture in the timber. Later on, I lived in Los Angeles for 10 years. At one point, I almost burned down an entire condominium. It would take too long to tell the whole story, but suffice it to say: Nobody told me that the wood in California is extremely dry and quite easy to light. I repeat: Nobody told me this.

I have already explained that not every person who claims to be a church musician deserves a raise. At the same time, I hope the observations I have made will prove helpful to parishes when it comes to setting salaries for choirmasters. Had I been told about the dryness of California wood, I never would have accidentally set that fire. I was ignorant; and I came very close to paying an unspeakably excruciating price. Perhaps priests and bishops who fail to pay musicians a just wage are simply ignorant of the immense amount of work and dedication required to be a successful choirmaster. In other words, perhaps they just need to be told.

P.S.

If you found this article engaging, I invite you to investigate my seminar: Secrets of the Conscientious Choirmaster.

1 In all my decades, I can never remember a single instance in which a priest was willing to delay beginning Mass for the sake of the singers. I’ve come to believe that many priests have no idea vis-à-vis the amount of preparation it takes to provide music for the Holy Mass. In Texas, we once had a guest priest. I was waiting for him in sacristy in order to briefly discuss which parts he wanted sung. (I knew he had to come into the sacristy before starting Mass.) Imagine my surprise to glance into church and notice he had already begun the Mass! He had worn his vestments while driving his truck to the church. In other words, he drove to our church wearing his vestments, exited his truck, and literally walked down the aisle and began offering Mass. I repeat: In all my years, I’ve never known a priest willing to delay beginning Mass on account of the music—no matter what. In Los Angeles, I remember begging one of the priests for a few extra minutes (due to an emergency impacting several singers). He replied: “No problem! Take all the time you need.” He then stood there in his vestments and biretta, and—after about 15 seconds—asked: “Are you ready now?” I could easily share many similar stories. I remember warning a priest over and over again about a particular wedding, insisting there was no possible way the bride was going to be on time (because I’d known her for years and she was always ridiculously tardy). But he ignored my warnings. As a result, he ended up waiting more than 90 minutes for the bride to arrive. When it comes to the question of why priests are willing to wait for brides but not choir members … I don’t know the answer. I can only suggest that many priests don’t realize how much preparation it takes to provide music for the Holy Mass. It also betokens a liturgical sloppiness, as if the singing is an ‘extra’ or an ‘add on’ to the rite. As a matter of fact, in spite of what certain priests claim, singing in the TLM is required for a High Mass. Certain priests will make sure they have 45 altar boys (each with a special lace surplice) yet give virtually no consideration to the music. I remember seeing photographs of a TLM conference which had various cardinals, bishops, monsignori, and about 400 priests, each wearing a carefully-pressed surplice and biretta, and yet the Mass was sung by just four (4) singers. This is so wrong! It’s the liturgical equivalent of spending $400,000 to buy special candles while using a cheap polyester chasuble. I will go to my grave not understanding why some priests pretend to care deeply about ‘even the smallest rubric’ yet fail to realize singers are required for a HIGH MASS. Regarding why most priests will wait for the bride but not the singers: If you have theories to explain this situation, I hope you’ll email me. Growing up in Kansas, my family often attended LOW MASSES on weekdays in a small town. When it came to beginning Mass, our priests were often late—especially when they were hearing confessions. However, this never upset us! We viewed this ‘extra’ time before Mass as an excellent opportunity to pray, beg God for mercy, and prepare interiorly for what was about to happen at the altar.