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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

Music is the “Humble Handmaid” of the Mass

Mark Haas · March 10, 2026

FEW MONTHS AGO, my family was traveling on a vacation, so we found a local Catholic parish to attend Mass. I have seen many strange things happen within the Mass from time to time, but this particular day might “take the cake” (pun intended…). After the reception of Holy Communion, and prior to the Prayer after Communion, the priest stood behind the altar and asked if anyone had a birthday approaching. A few people raised their hands and then the priest led everyone in a jovial singing of “happy birthday.” Upon hearing this, my kids immediately glanced at me with horrified looks on their faces.

Inward expression?

And so it is with many parishes that the music at the liturgy can often be an inward expression – rather than an outward offering of prayer toward heavenly things. Many Catholics today still experience liturgical music as something performed within the Mass, rather than something that serves the liturgy.

In many parishes, the music becomes an expression of personal taste, musical creativity, emotional expression, or cultural preference. The result is a musical palette that shapes the liturgy rather than a liturgy that shapes the music. But the Church has consistently taught the opposite.

In his illuminating document, Tra le Sollecitudini, Pope Pius X writes, “Sacred music, being an integral part of the solemn liturgy, participates in its general scope… but its purpose is to add greater efficacy to the text… music is merely a part of the liturgy and its humble handmaid.” (TLS 23)

Music is not an autonomous ornamentation. It is not the master of the liturgy. Authentic sacred music serves the Mass and the liturgical action.

What “Humble Handmaid” means

This phrase from Pius X is theologically rich and relevant for Catholic musicians of all times and places.

The music for Mass serves a greater reality. It does not draw attention to itself and it primarily exists for the sake of the Master.

Sacred music serves the Mass (not the other way around!). It supports the liturgical texts and enhances prayer rather than replacing it. The music of the Mass should illuminate the text and support the ritual; leading the faithful toward contemplation and inward conversion.

Objective vs. subjective music planning

When planning liturgical music, it can be tempting for music directors to ask themselves these questions:
• What songs do people like?
• What songs feel meaningful to me or to our parish community?
• What music fits the mood?

But liturgical planning is much more objective. Instead, the faithful music director should ask:
• What text does the Mass prescribe today?
• What musical form best serves the liturgy?
• What does the Church’s documents recommend?

(If you have never read the documents that inform these questions, please consider reading Sacrosanctum Concilium, Musicam Sacram, The General Instruction of the Roman Missal.)

What is the role of the Music Director?

The music director’s vocation is not primarily artistic but liturgical. This can sometimes be a tough thing for musicians, who spend countless years shaping and perfecting their musical craft. Nonetheless, the parish musician is a servant of the liturgy. He is a steward of the Church’s musical tradition and guardian of sacred prayer.

The task of the music director is to provide the music that the Church is asking for; to form choirs and congregations; to avoid turning the Mass into a concert, a performance, or a birthday celebration. This mission requires humility, obedience of liturgical norms, and the love of the Church’s musical heritage.

The result is a weight lifted from the shoulders of the music director and the parish musicians. Instead of inventing something new each week and catering to the subjective tastes of the congregation, the music becomes something rooted in the Church’s patrimony that is directed toward God. The Mass music is then a participation in the unbroken prayer of the Church that subsists through the centuries. Only then can sacred music fulfill its true mission: not to draw attention to itself, but to lead souls to God.

🎶 Happy liturgical planning to you! (and many more…)

 

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

Filed Under: Articles Last Updated: March 13, 2026

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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 • (Palm Sunday, 2026)
    Readers have expressed interest in seeing the ORDER OF MUSIC I created for Palm Sunday—a.k.a. “Dominica in palmis de Passione Domini”—which is 29 March 2026. Please feel free to download it as a PDF file if such a thing interests you. The OFFERTORY (Impropérium exspectávit cor meum) is quite moving. Even though the COMMUNION ANTIPHON is relatively simple, the Fauxbourdon makes it sound outstanding.
    —Jeff Ostrowski
    Easter • Would You Sing This Hymn?
    He who examines Laudes Dei: a hymnal for Catholic congregations (St. Louis, 1894) will discover this pairing of a hymn for Easter. For the record, this isn’t the only Catholic hymn book to marry that text and melody; e.g. Saint Mark’s Hymnal for Use in the Roman Catholic Church in the United States (Peoria, 1910) does the same thing. Sometimes an unexpected pairing—chosen with sensitivity—can be superb, forcing singers to experience the text in a ‘fresh’ and wonderful way. On the other hand, we sometimes encounter something I’ve called “PERNICIOUS HYMN PAIRINGS.” If you find the subject in intriguing, feel free to peruse an article I published in May of 2023. As always, my email inbox is open if you have a bone to pick with my take.
    —Jeff Ostrowski
    Pipe Organ “Answers” in Plainsong?
    In 2003, I copied a book by Félix Bélédin (d. 1895), who was titular organist—from 1841 to 1874—at the Cathedral of Saint John the Baptist in Lyon (France). In 2008, we scanned and uploaded the book to the Lalande Online Library. Nobody knows for sure when the book was published; some believe it first appeared in the 1840s. In any event, one who examines this excerpt, showing GLORIA IX might wonder why it says the organ answers in plainsong. However, the front of the book explains, telling the organist explicitly when to “respond in plainchant.” This is something called organ alternatim. Believe it or not, the pipe organ would take turns with the choir, playing certain texts instrumentally instead of having them sung. I’m not very well-versed in this—pardon the pun—but if memory serves, ORGAN ALTERNATIM was frowned upon by the time of Pope Saint Pius X. Nevertheless, French organists kept doing it, even after it was explicitly condemned as an abuse.
    —Jeff Ostrowski

Quick Thoughts

    “Gregorian Chant Quiz” • 24 March 2026
    How well do you know your Gregorian hymns? Do you recognize the tune inserted into the bass line on this score? For many years, we sang the entire Mass in Gregorian chant—and I mean everything. As a result, it would be difficult to find a Gregorian hymn I don’t recognize instantly. Only decades later did I realize (with sadness) that this skill cannot be ‘monetized’… This particular melody is used for a very famous Gregorian hymn, printed in the LIBER USUALIS. Do you recognize it? Send me an email with the correct words, and I promise to tell everybody I meet about your prowess!
    —Jeff Ostrowski
    PDF Download • “Ubi Caritas” (SATB)
    I remember singing “Ubi Cáritas” by Maurice Duruflé at the conservatory. I was deeply moved by it. However, some feel Duruflé’s version isn’t suitable for small choirs since it’s written for 6 voices and the bass tessitura is quite low. That’s why I was absolutely thrilled to discover this “Ubi cáritas” (SATB) for smaller choirs by Énemond Moreau, who studied with OSCAR DEPUYDT (d. 1925), an orphan who became a towering figure of Catholic music. Depuydt’s students include: Flor Peeters (d. 1986); Monsignor Jules Van Nuffel (d. 1953); Arthur Meulemans (d. 1966); Monsignor Jules Vyverman (d. 1989); and Gustaaf Nees (d. 1965). Rehearsal videos for each individual voice await you at #19705. When I came across the astonishing English translation for “Ubi Cáritas” by Monsignor Ronald Knox—matching the Latin’s meter—I decided to add those lyrics as an option (for churches which have banned Latin). My wife and I made this recording to give you some idea how it sounds.
    —Jeff Ostrowski
    PDF Download • “Holy, Holy, Holy”
    For vigil Masses on Saturday (a.k.a. “anticipated” Masses) we use this simpler setting of the “Holy, Holy, Holy” by Monsignor Jules Vyverman (d. 1989), a Belgian priest, organist, composer, and music educator who ultimately succeeded another ‘Jules’ (CANON JULES VAN NUFFEL) as director of the Lemmensinstituut in Belgium. Although I could be wrong, my understanding is that the LEMMENSINSTITUUT eventually merged with “Catholic University of Leuven” (originally founded in 1425). That’s the university Fulton J. Sheen attended.
    —Jeff Ostrowski

Random Quote

“We must acknowledge that We have been somewhat disturbed and saddened by these requests. One may well wonder what the origin is of this new way of thinking and this sudden dislike for the past.” [Paul VI responding to requests from monks asking permission to remove Latin from the Divine Office.]

— Pope Saint Paul VI (15 August 1966)

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