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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

Permission Needed to Replace the Propers?—(3 of 7)

Andrew Leung · February 21, 2015

CTL Propers N HONG KONG, there is only one publisher that prints the hymnal for the whole diocese and that publisher is the Sacred Music Commission. The members in Sacred Music Commission are appointed by the diocese and they work under the guidance of the local bishop.

The hymns are edited, translated, arranged and reviewed carefully by the commission. That’s why we don’t really experience the problem of non-approved hymns at home. Owing to this reality, it is not easy to comprehend the 2012 statement that approval of substitute songs is “impossible.”

In the General Instruction of the Roman Missal (GIRM), four options are given for the Propers in the dioceses of the United States of America:

(1) The antiphon from the Missal or the Roman Gradual (Graduale Romanum);|
(2) The antiphon from the Simple Gradual (Graduale Simplex);|
(3) A chant from another collection of Psalms and antiphons approved by the Conference of bishops;|
(4) Another liturgical chant that is suited to the sacred action, the day, or the time of years approved by the Conference of bishops.

According to the GIRM no. 48, these are the four options. But are they really just some options? Or are they preferences? If they are just four options, that will mean they are all equal and we are free to pick any one of the four. However, in the light of our Sacred Tradition, I would like to suggest that they are really preferences instead of options.

OVER THE PAST CENTURY, Popes and Council Fathers have written over and over again in documents that the main place or “pride of place” should be given to Gregorian Chant. According to that logic, the “four options” in the GIRM turn into the “four preferences” of the Church. The antiphons from the Roman Gradual are the first preference and most of these antiphons are from the Liber Usualis. They are the “real” Gregorian Chant. The second preference is the antiphons from the Simple Gradual and these are seasonal simplified chant. The third preference would be other collections of Psalms and antiphons which will include the English Propers composed by American musicians. And the final preference is other liturgical songs approved by the Conference of bishops, which may include some of the hymns in the hymnals.

I don’t know if you would agree with me on this, but working as a parish music director, I also view the “four preferences” as four levels of difficulties of application. The fourth preference is always the easiest because the hymns are usually in English and they encourage the external participation of the congregation. The third preference is a little bit harder to apply because the external participation of the congregation might not happen … but at least they can understand the English antiphons. The second preference is more difficult than the third because the language is now in Latin. And of course, the first preference is hardest because the melodies are much more complicated than the simple Latin chant.

In my parish, I always chant the Propers with my two scholae. The Propers are just as important as the Collect, the Prayer over the Offerings, and the Post-Communion Prayer. In fact, these prayers and the Propers of the day are on the same page in the Missal. At the beginning of the Mass, we usually sing a congregational hymn and the Introit is chanted as the priest process in. The offertory antiphon and communion antiphon are chanted before we sing other hymns or motets. And I always provide the translation of the antiphons for the congregation so that they can participate internally.

Are you considering having all the Propers sung at your parish? If yes, my suggestion would be not to replace hymns with the Propers, but do both! And always make sure the congregation can understand the text.

This article is part of a series:

Part 1 • Richard Clark

Part 2 • Veronica Brandt

Part 3 • Andrew Leung

Part 4 • Dr. Lucas Tappan

Part 5 • Andrew Motyka

Part 6 • Cynthia Ostrowski

Part 7 • Aurelio Porfiri

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

Filed Under: Articles Tagged With: Hilgartner 20 November 2012, Hymns Replacing Propers Last Updated: October 15, 2022

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About Andrew Leung

Andrew Leung currently serves the music director of Vox Antiqua, conductor of the Cecilian Singers, and music director at Our Lady of China Church.—(Read full biography).

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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

“Today the Church has made a big mistake, turning the clock back 500 years with guitars and popular songs. I don’t like it at all. Gregorian Chant is a vital and important tradition of the Church and to waste this—by having guys mix religious words with profane, Western songs—is hugely grave, hugely grave.”

— Maestro Ennio Morricone (10 Sept 2009)

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