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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

Why Are the Readings Not Sung at Mass?

Dr. Peter Kwasniewski · November 20, 2014

0319_Kwasni-97-MED NYONE WHO ATTENDS a High Mass in the Extraordinary Form of the Roman Rite will surely notice one characteristic feature: all texts that are meant to be heard by the people are sung, from start to finish, and the people, too, or the schola on their behalf, respond in song—as in the Byzantine liturgy. (The only exception to this rule might be the Confiteor said right before communion, but in many cases this is said so quietly as to be barely audible.) And of the texts that are sung, none, to a newcomer, would seem a more surprising candidate for this treatment than the Epistle and Gospel. For, sadly enough, in the Ordinary Form the readings are perhaps the least sung of all the customarily sung portions of the Mass.

Given that they can and ought to be chanted, however, and that handsome books are available with the readings already pointed for chanting (for examples, see here, here, and here) why has this beautiful treatment of the Word of God not entered into the mainstream of parish life?

The reason, I believe, is twofold. First, the readings are, 99.9% of the time, in the vernacular; and speaking broadly, the only singing of words in the vernacular with which people are familiar is, for the majority, pop songs (including in this category pseudo-folk music), and, for the upper crust, classical music. Otherwise, in our world nothing is sung—and what is sung in our world is hardly sacred. In other cultures and societies, both historically in the West and presently in non-Western parts of the world, singing is a widespread activity, loved and practiced by all, and put to a very wide variety of uses, especially religious ones. It is natural for people of most times, places, and cultures to sing; we modern Westerners are aberrant in that regard.

The second reason is that the priest or deacon or lector is facing the people when he reads, and there are very few, at least nowadays, who will chant a reading while facing the congregation. This may just be a sign of psychological immaturity, but the fact remains, and perhaps it is not merely immaturity: in the modern West, when a man sings towards a group of people, it is generally for entertainment, and it always involves a certain “stage personality.” This is abhorrent to the spirit of the liturgy. Significantly, in a solemn High Mass in the usus antiquior, the subdeacon chants the Epistle facing eastwards, and the deacon faces northwards to chant the Gospel, while in a Missa cantata both readings are chanted at the altar, again facing eastwards.1

It seems to me, therefore, that solemn chanting of the readings was undermined, first, by the abolition of Latin, which is a language eminently suited for sung proclamation and one for which an elegant set of lection tones developed over time (there was, in other words, a centuries-old custom of singing readings in Latin), and second, by the prevalent view that everything ought to be done towards the people. Either of these, by itself, would not have meant abandoning the chanting of readings; but combined, they pretty much guaranteed it. I can count on one hand the number of times in my entire life that I have heard readings chanted at a Novus Ordo Mass. The loss of this beautiful, solemn chanting of the revealed word of God is inestimable. It is something we need to recover.



NOTES FROM THIS ARTICLE:

1   In the Byzantine East, where the priest does face the people to chant the Gospel, it has no appearance of a performance. The entire feel of the liturgy prevents that association. The Latin liturgy did not develop in the same way, and since the Novus Ordo was implemented in an often theatrical and personality-driven way, chanting facing the people is going to have a much harder time escaping this gravitational field.

Please visit THIS PAGE to learn more about Dr. Kwasniewski’s Sacred Choral Works and the audio CDs that contain recordings of the pieces.

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 Dr. Peter Kwasniewski

A graduate of Thomas Aquinas College (B.A. in Liberal Arts) and The Catholic University of America (M.A. and Ph.D. in Philosophy), Dr. Peter Kwasniewski is currently Professor at Wyoming Catholic College. He is also a published and performed composer, especially of sacred music.

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President’s Corner

    “Music List” • 14 September (Holy Cross)
    Readers have expressed interest in perusing the ORDER OF MUSIC I prepared for 14 September 2025, which is the Feast of Exaltation of the Holy Cross. 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 spectacular feasts website alongside the official texts in Latin.
    —Jeff Ostrowski
    New Bulletin Article • “14 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 14 September 2025) discusses OFFERTORY ANTIPHONS and contains a wonderful quote by Archbishop Fulton J. Sheen.
    —Jeff Ostrowski
    PDF Download • Draft Copy (Pamphlet)
    A few days ago, I posted a draft copy of this 12-page pamphlet with citations about the laity’s “full, conscious, and active participation.” Its basic point or message is that choir directors should never feel embarrassed to teach real choral music because Vatican II explicitly ordered them to do that! We’ve received tons of mail regarding that pamphlet, with many excellent suggestions for improvement. Please feel free to chime in!
    —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

“Latin has been the language of the Latin liturgy for 1,600 years. It is a sign and source of unity as well as a defense of doctrine, not because of the language so much, but because it is a language no longer subject to changes. There are so many beautiful texts which can never have the same effectiveness in translation. Lastly, Latin is bound to an extremely precious heritage of melody, Gregorian chant and polyphony.”

— Cardinal Antonelli (Secretary of the Conciliar Commission on the Liturgy)

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