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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

Ten Reflections on “Pride of Place”

Andrew Leung · September 8, 2016

CTL Pride of Place AM SURE MANY OF US have heard or read that “Gregorian Chant should be given a pride of place (or main place) among different style of church music”. If not, here is the exact quote from the Constitution on the Sacred Liturgy, no.116:

The Church acknowledges Gregorian chant as specially suited to the Roman liturgy: therefore, other things being equal, it should be given pride of place in liturgical services.

This phrase is not invented by myself or some “liturgists”, it comes directly from the Second Vatican Council. Are we doing what the Council asked us to do? Some of us are, but most of us probably don’t hear Gregorian chant in Catholic churches these days. How exactly, then, can we give Gregorian chant a pride of place?

There are many articles with very practical advice on our blog about how to chant or introduce chant to a parish. So instead of listing out advice and methods, I would like to write a reflection in the style of an “examination of conscience”. I believe that spirit behind the term, “pride of place”, is greater than just singing at Mass or chanting the Propers. We can find out whether we have given Gregorian chant its pride of place in our parish by reflecting on the following questions:

1. Are we singing the Gregorian Propers and Ordinaries, which is specially suited to the Roman Liturgy, at our parish Masses?

2. Do we understand the texts of the chant and fully express them through our voices?

3. Gregorian chant and prayer are inseparable, are we praying when we chant?

4. Do we sing the Gregorian Ordinaries proper to each liturgical season? Or are we doing the minimum by chanting Missa de Angelis or Missa Jubilate Deo every week?

5. Do we spend enough time to practice Gregorian chant so that we can improve our techniques? Do we take advantage of conferences and workshops to further study the art of chant?

6. Other than chanting the Propers and Ordinaries, do we make use of the Gregorian hymns for different liturgical seasons and devotions?

7. Do we study the symbols, voicing and other traditions of the chant repertoire?

8. When we are given the opportunities to improvise on the organ, how often do we improvise on Gregorian melodies?

9. Are we familiar enough with the repertoire to be able to point out the hidden chant melodies in polyphonies and other works?

10. Are we doing our best in rehearsals and the liturgies so that we can touch people’s heart with the beauty of Gregorian chant?

These are some questions I asked myself to see if I truly grasp the true spirit of Gregorian chant, the true meaning of “pride of place”. If we put chant in a pride of place, we will realize that Gregorian chant is a very rich repertoire and you can never get bored with it.

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 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

“It was amusing to read in our papers that German Catholics were now using the vernacular at High Mass. In some parts of Germany they have been doing just that for well-nigh four hundred years! The cathedral in Osnabruck has solemn High Mass every Sunday with the whole chapter present, and the introit Gloria, Credo, Sanctus and Agnus Dei are sung … in German. Imagine, for four hundred years almost!”

— Hans Ansgar Reinhold (Dec. 1944)

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