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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

Pope Francis’ Address on Sacred Music: “Liturgy is the first ‘teacher’ of catechism.”

Richard J. Clark · October 4, 2019

OPE FRANCIS recently addressed the Scholae Cantorum of the Italian Santa Cecilia Association. I urge you to read it in its entirety. There are many gems, and it is not long!

      * *  Pope Francis’ Address to the Scholae Cantorum of the Italian Santa Cecilia Association

Francis notes the historic continuity from Pope Saint Pius X through the present day. Francis makes direct reference to Pius X’s 1903 Motu Proprio on sacred music, Tra le Sollecitudini which was the true catalyst for Vatican II reforms in music. Pius X is specifically named in Section VI on Sacred Music in the Constitution on the Sacred Liturgy. (see §112)

As such, he is mindful of Pius X’s call for sacred music in the liturgy to possess three characteristics: beautiful, holiness, and universality. Francis’ address is filled with gems, but this stands out as a guiding light.:

Not just any music, but holy music, because rituals are holy; endowed with the nobility of art, because God must be given the best; universal, so that everyone can understand and celebrate. Above all, clearly distinct and different from that used for other purposes.

Perhaps most important of all is this reminder from Pope Francis:

“[Y]our dedication to the liturgy and its music represents a way of evangelization at all levels, from children to adults. In fact, the liturgy is the first ‘teacher’ of catechism. Do not forget this: the liturgy is the first ‘teacher’ of catechism.”

IKE BENEDICT XVI and John Paul II, Pope Francis reaffirms upholding both our treasury of sacred music alongside new compositions, using Gregorian Chant as the “first model.” But while contemplating the wide tent that is sacred music in the Universal Church, I would ask we consider these important questions (perhaps among others) in light of the liturgy being the “first teacher of catechism.”

1 • Is the theology in our music truly Roman Catholic?

2 • Are we singing scripture or personal thoughts and impressions? (There will be a follow-up article to this question!)

3 • Are we singing the Mass or singing songs at Mass?

4 • Regardless of style, is the music and its presentation reverent and prayerful?

5 • Are we preparing adequately and giving God our best as Pope Francis asks?

INALLY Pope Francis acknowledges the preparation, sacrifice, and hard work of church musicians. It is often a thankless and relentless job! I know I am nothing without my hardworking volunteers (and professionals who don’t get paid nearly enough!) Let us all be thankful for each other, be mindful that we are working towards the same goals: to praise God and uplift our communities in spirit and prayer.

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

Filed Under: Articles Tagged With: Pope Francis Last Updated: January 1, 2020

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About Richard J. Clark

Richard J. Clark is the Director of Music of the Archdiocese of Boston and the Cathedral of the Holy Cross.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    Using “Ye” Vs. “You” Correctly
    Using “Ye” vs. “You” is rather tricky, because it depends upon which era one is trying to recreate—if that makes any sense. In other words, the rules haven’t always been the same for these two. Nevertheless, Father Philip George Caraman (the legendary Jesuit scholar) gives us a masterclass using Saint Luke’s Gospel. Father Caraman was close friends with Monsignor Ronald Knox, Evelyn Waugh, and Sir Alec Guinness.
    —Jeff Ostrowski
    “Pope Leo XIV Has Announced…”
    My pastor asked me to write brief articles each week for our parish bulletin. Those responsible for preparing similar write-ups may find a bit of inspiration in these brief columns. The most recent article speaks about the recent announcement by Pope Leo XIV, which does have an impact on church musicians. Scheduled for publication on 2025 08 10th, it’s called: “Pope Leo XIV Has Announced…”
    —Jeff Ostrowski
    “Chants” • 18th Sunday in Ordinary Time
    All the chants for 3 August 2025—which is the 18th Sunday in Ordinary Time (Year C)—have been added to the feasts website, as usual under a convenient “drop down” menu. The COMMUNION ANTIPHON (from the book of Wisdom) is stunning. That feast website has been called “the best kept secret of Church music.”
    —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

Agnes De Mille: “When I see my work, I take for granted what other people value in it. I see only its ineptitude, inorganic flaws, and crudities. I am not pleased or satisfied.” — Martha Graham: “No artist is pleased.” ADM: “But then there is no satisfaction?” — MG: “No satisfaction whatever at any time,” she cried out passionately. “There is only a queer divine dissatisfaction, a blessed unrest that keeps us marching and makes us more alive than the others.”

— “Martha Graham on the Life-Force of Creativity”

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