• Skip to primary navigation
  • Skip to main content
  • Skip to primary sidebar

Corpus Christi Watershed

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.”

  • Donate
  • Our Team
    • Our Editorial Policy
    • Who We Are
    • How To Contact Us
    • Sainte Marie Bulletin Articles
    • Jeff’s Mom Joins Fundraiser
  • Pew Resources
    • Brébeuf Catholic Hymnal
    • Jogues Illuminated Missal
    • Repository • “Spanish Music”
    • KYRIALE • Saint Antoine Daniel
    • Campion Missal, 3rd Edition
  • MUSICAL WEBSITES
    • René Goupil Gregorian Chant
    • Noël Chabanel Psalms
    • Nova Organi Harmonia (2,279 pages)
    • Roman Missal, 3rd Edition
    • Catechism of Gregorian Rhythm
    • Father Enemond Massé Manuscripts
    • Lalemant Polyphonic
    • Feasts Website
  • Miscellaneous
    • Site Map
    • Secrets of the Conscientious Choirmaster
    • “Wedding March” for lazy organists
    • Emporium Kevin Allen
    • Saint Jean de Lalande Library
    • Sacred Music Symposium 2023
    • The Eight Gregorian Modes
    • Gradual by Pothier’s Protégé
    • Seven (7) Considerations
Views from the Choir Loft

So, Who Is the “Leader of Song” Anyway?

Richard J. Clark · April 26, 2013

HE VALUE OF GOOD AND TRUSTED cantors cannot be underestimated. Of inestimable value is not only a cantor with a well-trained voice, but one who sings with prayerful humility. Although at times, the best-trained voice may not be the best-suited singer for proclaiming the Word. (e.g., a wonderful opera singer) Instead, a person with clear diction and pitch delivered with prayerful humility is ideal.

That being said, is the cantor the “leader of song”? It may be surprising that there are a few answers to this question, but it leads towards one ideal.

The role of cantor as “leader of song” will be relegated to history as a late 20th Century Roman Catholic invention. Attend any Protestant service with a strong tradition of hymnody, and the concept of someone standing in the front of the church (amplified by a microphone, and sometimes waving their arms no less) is both foreign and highly unnecessary. In fact, the concept is downright silly. (Additionally, that Roman Catholic hymnals do not include the harmonization for the congregation is another concept foreign to most other denominations.)

My own experience some years ago directing the choir at the Boston Temple, S.D.A Church was a prime example. The congregation sang in parts and as loudly as possible—imperfectly, but with joyful exuberance. The organ could not play loudly enough! During hymns, the choir could not be heard, as they were just singing as part of the congregation. (a light bulb should go off here…) A cantor on a microphone would in fact be distracting and would even discourage the congregation to sing. (another light bulb should be going off…)

The U.S. Bishop’s 2007 Document Sing to the Lord: Music in Divine Worship states the following:

31. When the choir is not exercising its particular role, (see no. 30.) it joins the congregation in song. The choir’s role in this case is not to lead congregational singing, but to sing with the congregation, which sings on its own or under the leadership of the organ or other instruments.

So, who or what is the leader of song, especially as when it comes to hymns? The first answer there is usually easy enough: The “leader of song” is the organ—not a cantor or the choir. The organ, when played with solid and balanced principal stops that speak clearly into the nave, is the leader. It is the supporter. It is the conductor. It must breathe with the people. It must breathe with the architecture. Most important to note, here is that the organ is NOT accompanying a choir or a cantor. The organ is accompanying the congregation. It is fitting that an instrument whose sounding board is the ceiling, walls and floor would be accompanying the vast assembly of people, not an individual or isolated group.

But, in an ideal situation, there is yet another answer to this question: Who (or what) is the “Leader of Song?”

Here is a somewhat extreme example: I have been playing for the Jesuit Community at Boston College for many years. With anywhere from 50-70 priests in attendance every week, they are the loudest singing congregation one might ever play for. For a time, they were not only the loudest, they were indeed the slowest.

St. Mary’s Chapel is in many ways ideal for congregational singing. There is no carpeting; nothing but wood and marble. The room and ceiling are intimate enough so the sound comes back to a congregation so they can hear each other, yet large enough for some ambience. Furthermore, it has a gem of a one manual, eight rank Flentrop organ in the gallery. Small, but clear in tone, its principals are balanced, speak clearly into the nave, filling the room.

These Jesuits love to sing. But when they sing, as a group, they will let you know what the tempo will be, which often was slower than I might like. Working with a cantor one day, she told me what tempo she would like. I responded that her tempo was very nice, and we could start that way. However, I warned her that once the refrain began, “they will let you know quite clearly what the new tempo will be.“ And so it was.

So, who is the leader of song in this case?: Incontrovertibly, the congregation.

Of course, the organ is the glue that keeps them together. Over the years I have slowly gotten the Jesuit community used to faster, moderate tempi. However, this example raises an excellent point. When playing hymns, is the organist sensitive to the congregation? Is a slight adjustment in tempo or breathing necessary? This does not imply making sudden or drastic changes. However, it is prudent to have a close ear on the first few stanzas. Do they want to slow down or speed up a little bit? Do they want to breathe more liberally? In other words, using “impeccable artistic taste” may not necessary be the best approach.

The same is true of unaccompanied chants. While introducing the ICEL Chants in 2011, (which were mandatory for a time in the Archdiocese of Boston) the congregations at both St. Cecilia and St. Mary’s Chapel were quick to learn them. However, they often forced the choir to slow down the tempo. (This is a first-class problem I am happy to deal with.) I had to be sensitive to this and make adjustments, lest the congregation be discouraged and give up singing altogether. Then in time, as they became more familiar with the chants, they sang them a touch faster.

So, what is the final answer to the question of “Who is the Leader of Song”? With congregations that have been musically nourished and therefore sing well, the “leader of song” is no one thing or person. Ideally, it is an act of chamber music. We listen to each other. We respond to each other. (To quote the great choral director Brian Jones, “We have two ears but only one mouth. There is a lesson in that!”) Worshiping together, we raise our voices to God—united as one voice.

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

Filed Under: Articles Last Updated: January 1, 2020

Subscribe

It greatly helps us if you subscribe to our mailing list!

* indicates required

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).

Primary Sidebar

Corpus Christi Watershed

President’s Corner

    New Bulletin Article • “21 September 2025”
    My pastor requested that I write short 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 latest article (dated 21 September 2025) discusses some theological items—supported by certain verses in ancient Catholic hymns—and ends by explaining why certain folks become delirious with jealousy when they observe feats by Monsignor Ronald Knox.
    —Jeff Ostrowski
    Cheap! Cheap! Cheap!
    It’s always amusing to see old diocesan newspapers—in huge capital letters—advertising the Cheapest Catholic Paper in the United States. The correspondent who sent this to me added: “I can think of certain composers, published by large companies in our own day, who could truthfully brag about the most tawdry compositions in the world!” I wonder what she could have meant by such a cryptic comment…
    —Jeff Ostrowski
    PDF Download • Dom Murray Harmonies
    Along with so many others, I have deep respect for Dom Gregory Gregory Murray, who produced this clever harmonization (PDF) of “O SANCTISSIMA.” It’s always amazed me that Dom Gregory—a truly inspired composer—was so confused when it came to GREGORIAN CHANT. Throughout his life, he published contradictory statements, veering back-and-forth like a weather vane. Toward the end of his life, he declared: “I see clearly that the need for reform in liturgical music arose, not in the 18th and 19th centuries, but a thousand years earlier—in the 8th and 9th centuries, or even before that. The abuses began, not with Mozart and Haydn, but with those over-enthusiastic medieval musicians who developed the elaborate and flamboyant Gregorian Chant.”
    —Jeff Ostrowski

Quick Thoughts

    Karl Keating • “Canonization Questions”
    We were sent an internet statement (screenshot) that’s garnered significant attention, in which KARL KEATING (founder of Catholic Answers) speaks about whether canonizations are infallible. Mr. Keating seems unaware that canonizations are—in the final analysis—a theological opinion. They are not infallible, as explained in this 2014 article by a priest (with a doctorate in theology) who worked for multiple popes. Mr. Keating says: “I’m unaware of such claims arising from any quarter until several recent popes disliked by these Traditionalists were canonized, including John XXIII, Paul VI, and John Paul II. Usually Paul VI receives the most opprobrium.” Mr. Keating is incorrect; e.g. Father John Vianney, several centuries ago, taught clearly that canonizations are not infallible. Archbishop Fulton J. Sheen would be another example, although clearly much more recent than Saint John Vianney.
    —Corpus Christi Watershed
    Vatican II Changed Wedding Propers?
    It’s often claimed that the wedding propers were changed after Vatican II. As a matter of fact, that is a false claim. The EDITIO VATICANA propers (Introit: Deus Israel) remained the same after Vatican II. However, a new set of propers (Introit: Ecce Deus) was provided for optional use. The same holds true for the feast of Pope Saint Gregory the Great on 3 September: the 1943 propers (Introit: Si díligis me) were provided for optional use, but the traditional PROPRIA MISSAE (Introit: Sacerdótes Dei) were retained; they weren’t gotten rid of. The Ordo Cantus Missae (1970) makes this crystal clear, as does the Missal itself. There was an effort made in the post-conciliar years to eliminate so-called “Neo-Gregorian” chants, but (contrary to popular belief) most were retained: cf. the feast of Christ the King, the feast of the Immaculate Conception, and so forth.
    —Corpus Christi Watershed
    Solemn “Salve Regina” (Chant)
    How many “S” words can you think of using alliteration? How about Schwann Solemn Salve Score? You can download the SOLEMN SALVE REGINA in Gregorian Chant. The notation follows the official rhythm (EDITIO VATICANA). Canon Jules Van Nuffel, choirmaster of the Cathedral of Saint Rumbold, composed this accompaniment for it (although some feel it isn’t his best work).
    —Corpus Christi Watershed

Random Quote

“It introduces us to a still and serious world, deserted and rigid, without colour, without light, without motion; it does not gladden, does not distract; yet we cannot break away from it.”

— ‘Schweitzer on the THEME from Bach’s “Art of Fugue”’

Recent Posts

  • New Bulletin Article • “21 September 2025”
  • How do you pronounce this word in Latin?
  • Cheap! Cheap! Cheap!
  • Children’s Repertoire: “3 Recommendations”
  • PDF Download • Dom Murray Harmonies

Subscribe

Subscribe

* indicates required

Copyright © 2025 Corpus Christi Watershed · Isaac Jogues on Genesis Framework · WordPress · Log in

Corpus Christi Watershed is a 501(c)3 public charity dedicated to exploring and embodying as our calling the relationship of religion, culture, and the arts. This non-profit organization employs the creative media in service of theology, the Church, and Christian culture for the enrichment and enjoyment of the public.