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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 10, 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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Corpus Christi Watershed

President’s Corner

    Good Friday Flowers
    Good Friday has a series of prayers for various parties: the pope, catechumens, pagans, heretics, schismatics, and so forth. In the old liturgical books, there was no official ‘name’ for these prayers. (This wasn’t unusual as ‘headers’ and ‘titles’ for each section is a rather modern idea.) The Missal simply instructed the priest to go to the Epistle side and begin. In the SHERBORNE MISSAL, each prayer begins with a different—utterly spectacular—flower. This PDF file shows the first few prayers. Has anyone counted the ‘initial’ drop-cap flowers in the SHERBORNE MISSAL? Surely there are more than 1,000.
    —Jeff Ostrowski
    Music List • (3rd Sunday of Lent)
    Readers have expressed interest in seeing the ORDER OF MUSIC I created for this coming Sunday, which is the 3rd Sunday of Lent (8 March 2026). If such a thing interests you, feel free to download it as a PDF file. This feast has magnificent propers. Its stern INTROIT (“Óculi mei semper ad Dóminum”) is breathtaking, and the COMMUNION (“Qui bíberit aquam”) with its fauxbourdon verses is wonderful. I encourage all the readers to visit the feasts website, where the Propria Missae may be downloaded completely free of charge.
    —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

Quick Thoughts

    “Dies Irae” • A Monstrous Translation
    It isn’t easy to determine what Alice King MacGilton hoped to accomplish with her very popular book—A Study of Latin Hymns (1918)—which continued to be reprinted in new editions for at least 34 years. This PDF file shows her attempt to translate the DIES IRAE “in the fewest words possible.” There’s a place for dynamic equivalency, but this is repugnant. In particular, look what she does to “Quærens me sedísti lassus.”
    —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
    Grotesque Pairing • “Passion Chorale”
    One of our rarest releases was undoubtably this PDF scan of the complete Pope Pius XII Hymnal (1959) by Father Joseph Roff, a student of Healey Willan. One of the scarcest titles in existence, this book was provided to us by Mr. Peter Meggison. Back in 2018, we scanned each page and uploaded it to our website, making it freely available to everyone. Readers are probably sick of hearing me say this, but just because we upload something that doesn’t necessarily mean it’s wonderful or worthy of imitation. We upload many publications precisely because they are ‘grotesque’, interesting, or revealing. Whereas the Brébeuf Catholic Hymnal had an editorial board that was careful and sensitive vis-à-vis pairing texts with tunes, the Pope Pius XII Hymnal (1959) seems to have been rather reckless in this regard. Please take a look at what they did with the PASSION CHORALE and see whether you agree.
    —Jeff Ostrowski

Random Quote

Like all other liturgical functions, like offices and ranks in the Church, indeed like everything else in the world, the religious service that we call the Mass existed long before it had a special technical name.

— Rev. Adrian Fortescue (1912)

Recent Posts

  • Music is the “Humble Handmaid” of the Mass
  • Good Friday Flowers
  • PDF Download • “Entrance Chant” for Holy Thursday (Plainsong in English)
  • “Dies Irae” • A Monstrous Translation
  • PDF Download • “Holy, Holy, Holy”

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