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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

Sing Prayerfully

Andrew Leung · February 12, 2015

323 Andrew Leung T HAS BEEN SAID: “He who sings prays twice.” However as church musicians, we don’t always feel prayerful and peaceful when we are singing and playing during the Liturgy. Recently, I heard from some friends that singing at Mass was never a peaceful and prayerful experience for them, but a stressful one. A lot of times, we worry about whether the choir is singing too slow, pronunciation of the text, messing up the rhythm, missing an entrance in a polyphonic piece, making mistakes on a melody or harmony, etc. Should the Mass be a prayerful experience for the musicians?

YES! I am sure that most of you will agree that singing the Mass is not just a performance, but a prayer. The music at Mass should be for the glorification of God and the sanctification of the faithful. Musicians, as part of the faithful, should be sanctified by the Liturgical Music too. When we sing at Mass, it is understandable that there might be a little nerve just like what we would experience in other performances. However, this nerve shouldn’t affect us too much spiritually.

If Liturgical Music is a prayer, when do we begin praying? The prayer should start way before the Mass. In fact, we should make our personal practices and group rehearsals part of the prayer. It is a long process of prayer that the congregation will never experience. It is like saying the rosary. A rosary is formed by many “Our Father”, “Hail Mary”, “Glory be” and other prayers and devotions. Before Mas, we practice the pieces over and over again just like how we say the “Hail Mary” fifty times in a rosary. Each “Hail Mary” is a short and simple prayer, but when they are all linked together, they become part of a long prayer, the rosary. Similarly, we make a lot of mistakes and pauses during rehearsals. And when we put all our works and efforts together at Mass, the prayer is finally completed. That is why preparations and practices are very important for church musicians.

HERE ARE A FEW THOUGHTS and suggestions on how one can make “church singing” more prayerful.

First, Spiritually:

1. Understand the idea of “Sing the Mass, not Sing at Mass.” To “Sing at Mass” would be to make our singing a performance only. On the other hand, to “Sing the Mass” is to make our singing a prayer. Always starts and ends the rehearsal or the “performance” with a prayer to remind ourselves to make the music a prayer to God.

2. Know the text. A good piece of Sacred Music should have a scriptural text, or sometimes the text would be taken from other traditional prayers. In order to sing prayerfully, we need to make sure we know what we are singing, especially when the text is in a foreign language.

3. Observe sacred silence, especially in our own prayer time. As musicians, we are constantly participating the Mass externally through singing or playing. It is important that we do not forget the internal participation and to listen to God through silent prayer and meditation.

And now, more Technical:

1. Know the Strengths and Weaknesses. As choir directors, we need to know our choirs’ strengths and weaknesses; and as singers, we need to know our own strengths and weaknesses too. If singing the Mass is a stressful experience for you, you should try to find out what is stressing you out.

2. Find the Right Repertoire. One of the main reasons why singing the Mass is so stressful for some people is because repertoire is too difficult. For example, the Tract might be too long and hard for a choir. Then maybe you would like to consider singing it in psalm tone until your choir is comfortable with long and melismatic chant. It is more important to sing well and pray well than to sing a challenging piece.

3. Use your Rehearsal Time Wisely. If singing the Mass is a stressful experience for you, consider lengthening your rehearsal time so that you can spend more time learning and practicing. In order to master a piece of music, you will need to be able to sing the piece comfortably during rehearsal. You might also want to consider spending some time during rehearsals on solfege exercises and other vocal exercises to increase your skill level.

I hope my suggestions help to make singing the Mass a prayerful and peaceful experience for you.

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

Filed Under: Articles Last Updated: January 1, 2020

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About Andrew Leung

Andrew Leung currently serves the music director of Vox Antiqua, conductor of the Cecilian Singers, and music director at Our Lady of China Church.—(Read full biography).

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President’s Corner

    PDF Comparison Chart • “Serious Problems with the Lectionary Translation”
    EARS BEFORE truly revolutionary changes were introduced by the post-conciliar reformers, Evelyn Waugh wrote (on 16 August 1964) to John Cardinal Heenan: “I think that a vociferous minority has imposed itself on the hierarchy and made them believe that a popular demand existed where there was in fact not even a preference.” We ask the kind reader— indeed, we beg you—to realize that those of us born in the 1940s and 1950s had no cognizance of Roman activities during the 1960s and 1970s. We were concerned with making sure we had the day’s bus fare, graduating from high school, taking care of our siblings, learning a trade, getting a job, courting a spouse. We questioned neither the nuns nor the Church.1 Do not believe for one instant any of us were following the liturgical machinations of Cardinal Lercaro or Father Bugnini in real time. Setting The Stage • To never question or resist Church authorities is praiseworthy. On the other hand, when a scandalous situation persists for decades, it must be brought into focus. Our series will do precisely that as we discuss the Lectionary Scandal from a variety of angles. We don’t do this to attack the Catholic Church. Our goal is bringing to light what’s been going on, so it can be fixed once and for all. Our subject is extremely knotty and difficult to navigate. Its complexity helps explain why the situation has persisted for such a long time.2 But if we immediately get “into the weeds” we’ll lose our audience. Therefore, it seems better to jump right in. So today, we’ll explore the legality of selling these texts. A Word On Copyright • Suppose Susie modifies a paragraph by Edgar Allan Poe. That doesn’t mean ipso facto she can assert copyright on it. If Susie takes a picture of a Corvette and uses Photoshop to color the tires blue, that doesn’t mean she henceforth “owns” all Corvettes in America. But when it comes to Responsorial Psalm translations, certain parties have been asserting copyright over them, selling them for a profit, and bullying publishers vis-à-vis hymnals and missals. Increasingly, Catholics are asking whether these translations are truly under copyright—because they are identical (or substantially identical) to other translations.3 Example After Example • Our series will provide copious examples supporting our claims. Sometimes we’ll rely on the readership for assistance, because—as we’ve stressed—our subject’s history couldn’t be more convoluted. There are countless manuscripts (in Greek, Hebrew, and Latin) we don’t have access to, so it would be foolish for us to claim that our observations are somehow the ‘final word’ on anything. Nevertheless, we demand accountability. Catholics in the pews are the ones who paid for all this. We demand to know who specifically made these decisions (which impact every English-speaking Catholic) and why specifically certain decisions were made. The Responsorial Psalms used in America are—broadly speaking—stolen from the hard work of others. In particular, they borrowed heavily from Father Cuthbert Lattey’s 1939 PSALTER TRANSLATION:
    *  PDF Download • COMPARISON CHART —We thank the CCW staff for technical assistance with this graph.
    Analysis • Although certain parties have been selling (!!!) that translation for decades, the chart demonstrates it’s not a candidate for copyright since it “borrows” or “steals” or “rearranges” so much material from other translations, especially the 1939 translation by Father Cuthbert Lattey. What this means in layman’s terms is that individuals have been selling a translation under false pretenses, a translation they don’t own (although they claim to). To make RESTITUTION, all that money will have to be returned. A few years ago, the head of ICEL gave a public speech in which he said they give some of “their” profits to the poor. While almsgiving is a good thing, it cannot justify theft. Our Constant Theme • Our series will be held together by one thread, which will be repeated constantly: “Who was responsible?” Since 1970, the conduct of those who made a profit by selling these sacred texts has been repugnant. Favoritism was shown toward certain entities—and we will document that with written proof. It is absolutely essential going forward that the faithful be told who is making these decisions. Moreover, vague justifications can no longer be accepted. If we’re told they are “making the translations better,” we must demand to know what specifically they’re doing and what specific criteria they’re following. Stay Tuned • If you’re wondering whether we’ll address the forthcoming (allegedly) Lectionary and the so-called ABBEY PSALMS AND CANTICLES, have no fear. We’ll have much to say about both. Please stay tuned. We believe this will end up being the longest series of articles ever submitted to Corpus Christi Watershed. To be continued. ROBERT O’NEILL Former associate of Monsignor Francis “Frank” P. Schmitt at Boys Town in Nebraska JAMES ARNOLD Formerly associated w/ King’s College, Cambridge A convert to the Catholic Church, and distant relative of J. H. Arnold MARIA B. Currently serves as a musician in the Roman Catholic Diocese of Charlotte. Those aware of the situation in her diocese won’t be surprised she chose to withhold her last name.
    1 Even if we’d been able to obtain Roman journals such as NOTITIAE, none of them contained English translations. But such an idea would never have occurred to a high school student or a college student growing up in the 1960s. 2 A number of shell corporations claim to own the various biblical translations mandated for Roman Catholics. They’ve made millions of dollars selling (!) these indulgenced texts. If time permits, we hope to enumerate these various shell corporations and explain: which texts they claim to own; how much they bring in each year; who runs them; and so forth. It would also be good to explore the morality of selling these indulgenced texts for a profit. Furthermore, for the last fifty years these organizations have employed several tactics to manipulate and bully others. If time permits, we will expose those tactics (including written examples). Some of us—who have been working on this problem for three decades—have amassed written documentation we’ll be sharing that demonstrates behavior at best “shady” and at worst criminal. 3 Again, we are not yet examining the morality of selling (!) indulgenced texts to Catholics mandated to use those same translations.
    —Guest Author
    “Music List” • 17th in Ordinary Time (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 17th Sunday in Ordinary Time (27 July 2025). 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 the feasts website.
    —Jeff Ostrowski
    Communion • “Ask & You Shall Receive”
    All of the chants for 27 July 2025 have been added to the feasts website, as usual under a convenient “drop down” menu. The COMMUNION ANTIPHON (both text and melody) are exceedingly beautiful and ancient.
    —Jeff Ostrowski

Quick Thoughts

    Pope Pius XII Hymnal?
    Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.
    —Corpus Christi Watershed
    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed
    Antiphons Don’t Match?
    A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).
    —Corpus Christi Watershed

Random Quote

If the homily goes on too long, it will affect two characteristic elements of the liturgical celebration: its balance and its rhythm. The words of the preacher must be measured, so that the Lord, more than his minister, will be the center of attention.

— Pope Francis (11/24/2013)

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