The thesis of this study is that Richard Proulx (1937-2010) composed sacred music in a manner that fulfilled directives on sacred music from the Second Vatican Council. Council documents Sacrosanctum Concilium, Musicam Sacram, and documents from American bishops including, The Place of Music in Eucharistic Celebrations, Music in Catholic Worship, and Liturgical Music Today, contain directives on music for the liturgy in the Catholic Church. Discussion of these documents will illustrate the edicts that Proulx’s music followed. Discussion of the post-conciliar zeitgeist in America will demonstrate the misguided interpretation of the Council’s reforms in America, and the trends that Proulx’s compositional style eschewed. The scope of this study is the analysis of three of Proulx’s works for organ, and five choral works. Fanfare, Pavane: Danse Liturgique pour Orgue, and Les Paroles Finales de Saint-Louis demonstrate Proulx’s approach to composing organ music for the sacred liturgy. We Adore You, O Christ, The Pelican, and Psalm 133 demonstrate Proulx’s approach to composing sacred choral anthems for the liturgy. A Community Mass demonstrates Proulx’s approach to composing a setting of the Ordinary of the Mass. The Stars Declare His Glory demonstrates Proulx’s approach to writing congregational hymnody. Conclusions drawn from the analysis of the aforementioned works will show their fidelity to Vatican II and its directives on sacred music.