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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

From Sentiment to Sacrament: Reclaiming Sacred Music for the Wedding Mass

Mark Haas · March 25, 2026

A few months ago, I had a bride call to ask me if they could have the theme for “Beauty and the Beast” played during their wedding Mass. My first thought was: She could very well be the beauty, but my heavens, what does the groom look like?!

Assisting engaged couples with their wedding music can be one of the most rewarding—and sometimes one of the most challenging—aspects of parish music ministry. Every couple brings their own hopes, tastes, and expectations into the process, often shaped by what they’ve seen in movies, on television, or across social media. They imagine the perfect “walk down the aisle” moment underscored by a love song that carries personal meaning. Yet within the context of the Catholic wedding Mass, the goal of sacred music is not to showcase sentimentality or individual preference, but to glorify God and reflect the sacred reality of the Sacrament taking place.

Who Marries Whom? • It’s important for couples to be actively involved in planning the music for their wedding, because they are not mere spectators—they are the principal ministers of the Sacrament of Matrimony. The priest, deacon, or bishop does not “marry” the couple in the same sense; rather, the couple confers the sacrament upon one another. The ordained minister serves as the Church’s official witness to this covenant. As the Order of Celebrating Matrimony states, “In the Latin Church, it is the spouses themselves who, as ministers of Christ’s grace, mutually confer upon each other the Sacrament of Matrimony by expressing their consent before the Church” (no. 75). This reality means that couples should indeed participate thoughtfully in preparing their wedding liturgy—especially in choosing music that reflects both their love for one another and their love for Christ, who is the true source of all love.

However, when problematic music choices arise, they often reveal a deeper misunderstanding of what the Catholic wedding is—and what it is not. A Catholic wedding, particularly when celebrated within the Holy Mass, is not a private ceremony centered on personal taste or romantic expression. It is first and foremost a sacred act of worship, oriented toward Jesus Christ and the Paschal Mystery made present on the altar. The couple’s vows take place in the context of the Eucharistic Sacrifice, where Christ gives Himself in total love to His Bride, the Church. The music, therefore, should help draw all present into this profound mystery—not distract from it with secular or sentimental associations.

A helpful introduction • For parish music directors, navigating these waters requires both pastoral sensitivity and firm liturgical formation. One of the most effective ways to foster understanding is through clear and charitable communication. At my parish, I share the following introductory statement with every couple preparing for marriage. It sets the tone for our collaboration while grounding the process in the Church’s vision for sacred music. Here is a generic version:

“The following music planning guide is intended to be used as suggestions by helping couples choose from many selections of available music that are acceptable to Catholic wedding liturgies here at St. Miscellaneous Parish. This is not an exhaustive list of music selections but should be considered a guide in liturgical preparation for weddings.

St. Miscellaneous has a rich history of Sacred music, which glorifies God through theologically rich hymnody, chant, and polyphonic works. Couples should choose music that glorifies both their nuptial union, and the Lord Jesus Christ, who is made present on the Altar at the Holy Sacrifice of the Mass. Note: The parish only permits the organ to lead Mass music. Piano and guitar could be utilized for perhaps the Wedding Reception. Also, the parish does not sing ‘Contemporary Christian Music’ within the Mass, as the theological nature of the music – and their composers – are often at odds with Catholic teaching concerning the nature of the Mass and the Sacraments.

All music selections – including those outside of this list – should be approved by the music director. Secular music choices (non-sacred) should be reserved for perhaps the Wedding Reception.”

This statement establishes a pastoral yet firm foundation. It reminds couples that while their wedding day is deeply personal, it is also a public act of the Church’s worship. By choosing music that glorifies God, honors the sacredness of the Mass, and reflects the beauty of Catholic tradition, couples are invited into something far greater than sentiment—they are invited into the mystery of divine love itself.

When couples understand that their marriage mirrors Christ’s love for His Church, the music they choose begins to reflect that reality: timeless, reverent, and oriented toward heaven. And for those of us who serve as music directors, there are few greater joys than helping them discover that beauty.

It’s a tale as old as time.

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

Filed Under: Articles Last Updated: March 25, 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

    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
    Music List • (5th Sunday of Lent)
    Readers have expressed interest in seeing the ORDER OF MUSIC I created for this coming Sunday, which is the 5th Sunday of Lent (22 March 2026). If such a thing interests you, feel free to download it as a PDF file. Traditionally, this Sunday was called ‘Passion’ Sunday. Starting in 1956, certain church leaders attempted rename both ‘Passion’ Sunday and ‘Palm’ Sunday—but it didn’t work. For example, Monsignor Frederick McManus tried to get people to call PALM SUNDAY “Second Passion Sunday”—but the faithful rejected that. I encourage all the readers to visit the feasts website, where the Propria Missae may be downloaded completely free of charge.
    —Jeff Ostrowski
    Music List • (Holy Thursday, 2026)
    Readers have expressed interest in seeing the ORDER OF MUSIC I created for Holy Thursday, which is 2 April 2026. If such a thing interests you, feel free to download it as a PDF file. I’m not sure I’ve ever heard a more piercingly beautiful INTROIT, and I have come to absolutely love the SATB version of ‘Ubi cáritas’ we are singing (joined by our burgeoning children’s choir). I encourage all the readers to visit the feasts website, where the Propria Missae may be downloaded completely free of charge.
    —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

Giovanni Doni is known for having changed the name of note “Ut,” renaming it “Do.” He convinced his contemporaries to make the change by arguing that 1) “Do” is easier to pronounce than “Ut,” and 2) “Do” is an abbreviation for “Dominus,” the Latin word for the Lord, Who is the tonic and root of the world. There is much academic speculation that Giovanni Doni also wanted to imprint himself into musical canon in perpetuity because “Do” is also ulteriorly an abbreviation for his family name.

— Giovanni Battista Doni died in 1647AD

Recent Posts

  • From Sentiment to Sacrament: Reclaiming Sacred Music for the Wedding Mass
  • Pipe Organ “Answers” in Plainsong?
  • “Gregorian Chant Quiz” • 24 March 2026
  • “Versions of the Psalter” • Jeff Interviews Top Biblical Scholar: Dr. Mark Giszczak
  • PDF Download • “Ubi Caritas” (SATB)

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