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Views from the Choir Loft

Archbishop Sample’s Letter On Sacred Music (3 of 8)

Andrew R. Motyka · June 18, 2014

RCHBISHOP SAMPLE’S pastoral letter on sacred music has several wonderful passages to consider. While there are many discussions that should, and will, flow forth from this letter, I particularly appreciate the good Archbishop’s description of the qualities of sacred music.

      * *  Archbishop Sample • 2013 Letter (PDF)

When discussing liturgical art in general, and liturgical music in particular, it is easy to fall into thinking that the quality and appropriateness of literature is subjective. Archbishop Sample elucidates the qualities of sacred music in a way that puts the discussion in objective terms. Agreeing on criteria like this is essential if any discussion is to be had about what the Church wants from us in musical worship.

The three criteria shared by the Archbishop are the sanctity, beauty, and universality of music. By sanctity in music, he means the way in which music is executed in the liturgy, in a manner conducive to worship as well as its connection to the ritual itself. Not only should the choice of music be connected to the liturgy, but its performance also needs appropriate reverence. We need to avoid “profanity not only in itself, but in the manner in which it is presented by those who execute it.” Certainly a conversation can take place as to what constitutes “profanity” in music (profane, in this case, being defined as the opposite of sacred), but surely we can agree that turns of music that call to mind secular celebrations and not sacred prayer.

The second criterion, beauty, is the most subjective, but we still have some guidance here. We are called to music that is “true art,” so that it is clear that it has its place in the divine liturgy. The third element for consideration is the universality of sacred music. This is where the most interesting idea comes in, in my opinion. It relates back to the first criterion, the holiness of music, and that holiness transcends culture. Notice that this enculturation refers only to music that is already culturally relevant to worship, not simply all cultural practices to be worked into the liturgy. When cultural practices are connected to worship, they can be Christianized, when appropriate, and brought to the liturgy, provided they also fulfill the first two criteria.

THERE IS MUCH TO BE CONSIDERED in Archbishop Sample’s letter on pastoral music, and it is encouraging that such a musical and liturgical thinker is now so connected to the nation’s most overwhelmingly influential liturgical publishing house. This letter should provide for much consideration and conversation, and hopefully assist all of us in our mission of the worship of God and the edification of the faithful.


This is part of an 8-part series on Archbishop Sample’s historic letter:

FIRST REFLECTION • Jeff Ostrowski

SECOND REFLECTION • Aurelio Porfiri

THIRD REFLECTION • Andrew Motyka

FOURTH REFLECTION • Peter Kwasniewski

FIFTH REFLECTION • Richard Clark

SIXTH REFLECTION • Veronica Brandt

SEVENTH REFLECTION • Fr. David Friel

EIGHTH REFLECTION • Gwyneth Holston

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

Filed Under: Articles Tagged With: Archbishop Alexander K Sample Last Updated: January 1, 2020

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About Andrew R. Motyka

Andrew Motyka is the Archdiocesan Director of Liturgical Music and Cathedral Music for the Archdiocese of Indianapolis.—(Read full biography).

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    Requesting Our Advent Eucharistic Hymn
    A young lady named Agnes wrote to us: “Dear Mr. Ostrowski, do you have the PDF score for Ave Corpus Domini set to the ADVENT melody? Last year, we sang the hymn tune “Nun Komm der Heiden Heiland” quite a bit using your contrafactum technique. My choir appreciates the Latin hymns and practice videos, especially in the ADVENT and CHRISTMAS seasons. Your recent article on Gregorian Psalm Tones is a great help to my organist brother, and reminds us of attending VESPERS years ago when we lived in California. Thank you so much for all the effort put into providing these wonderful resources!”   Agnes, if you are listening! Yes, the PDF file you desire can be downloaded for free at the Brébeuf Portal via this URL link. Thanks for writing to us!
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    The Vice-President of the Church Music Association of America, Dr. Horst Buchholz (who also serves as Director of Sacred Music for the Archdiocese of Detroit) sent us an email yesterday regarding the harmonizations (PDF) I composed for the Gregorian Chant psalm tones. Dr. Buchholz says: “Those settings are absolutely exquisite, as I'm used to when it comes from you. Bravo! Well done! Now, as a sequel, if you could write something for accompanying psalms in English that would be awesome.”
    —Jeff Ostrowski
    Seven (7) Hymn Verses for November!
    In the month of November, we remember in a special way the souls in purgatory. The BRÉBEUF HYMNAL often includes text alone versions for its hymns; why is that? The short answer is: flexibility. The “text only” version allows each choirmaster to employ a myriad of melodies. For example, I recently set the English translation of “De Profúndis” with the DAVOST MELODY (PDF). We are singing this before November ends. Indeed, you can hear our volunteer singing this (in real life) if you click here.
    —Jeff Ostrowski

Random Quote

On 26 July 1916—during the German occupation of Belgium—a student choir led by Van Nuffel performed his setting of the psalm “Super flumina Babylonis” in Saint Rumbold’s Cathedral. The text and the musical setting very aptly expressed the depressed and rebellious mood of the population. The acclaim was enormous, and it laid the foundation for Van Nuffel’s formation of the Saint Rumbold’s choir.

— Unknown

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