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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

Raising the Musical Standards (Part 1)

Andrew Leung · June 7, 2018

CTL Raising the Musical Standards WAS TALKING with some friends recently about how the musical standards in parish churches nowadays are so low. My friends, who are trained classical musicians, all agreed with me. First of all, many “cheap” pieces are composed for liturgical use; secondly, most of the musicians just don’t play or sing musically or artistically in the liturgy. And the congregation just seems to be satisfied with the mediocre music. You probably have heard of explanations like these when you questioned about the situation of church music nowadays: “the choir is not performing, but praying at Mass”, “the singers are all volunteers and we can’t expect them to sing like professional choirs”, or “the choir is very passionate in singing and they are doing their best, having good hearts is enough”; “and therefore, the quality of the music is not important”.

The musical standards in the liturgy should be higher than ordinary performances! In secular performances, music is played mainly for the enjoyment of men. But in the liturgy, we praise God with music. It is only logical that liturgical music, which should be sacramental, should be held with higher standards than other music.

Orchestral Masses were originally written for prayer and for the glorification of God. However, because of human weaknesses, both on the ends of the musicians and those who listens to them in the pews, they tends to become performances like many other secular pieces. I agree that musicians should not think of themselves as ordinary performers: they should not be considered as the center of attention in the liturgy. But that doesn’t mean that we cannot have professional church music.

A friend of mine, speaking from a secular music performer’s perspective, pointed out that many church choir members think that there is a lack of awareness of liturgical music and church musicians are generally underappreciated. For example, no one is going to notice the choir singing the beautiful motet because people are busy getting in line for communion. Although his observation lacks consideration on the spiritual aspect of liturgical singing, that music is the “handmaid of the liturgy” and should be theocentric, the observation does have certain truth in it. It makes many singers think that it is fine to sing “okay” in the Mass and there is no need to pursue better music.

As church musicians, we are called to make the best music even when we are underappreciated or go unnoticed. Our duty is to raise the standards of church music to a level that is even higher than secular performances in concert halls and opera houses. It might take a long time and lots of effort to accomplish that, but we can at least challenge ourselves to sing better each week.

Y CHOIR, Vox Antiqua, and I believe that we are fulfilling our roles as church musicians by providing high quality music in the liturgy. Singing well is the way we pray and express our love for God. There is no conflict between singing professionally and praying wholeheartedly.


This was recorded live by a cellphone during Mass on the Solemnity of Pentecost. The gorgeous motet by Thomas Tallis was sung during communion. Coincidentally, the Duke and Duchess of Sussex also chose it as an anthem in their wedding on the same day.

Soli Deo Gloria!

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 • “12 October 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 12 October 2025) talks about an ‘irony’ or ‘paradox’ regarding the 1960s switch to a wider use (amplior locus) of vernacular in the liturgy.
    —Jeff Ostrowski
    “Reminder” — Month of October (2025)
    Those who don’t sign up for our free EMAIL NEWSLETTER miss important notifications. Last week, for example, I sent a message about this job opening for a music director paying $65,000 per year plus benefits (plus weddings & funerals). Notice the job description says: “our vision for sacred music is to move from singing at Mass to truly singing the Mass wherein … especially the propers, ordinaries, and dialogues are given their proper place.” Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski
    “Music List” • 27th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 5 October 2025, which is the 27th Sunday in Ordinary Time (Year C). 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. Readers will want to check out the ENTRANCE CHANT posted there, which has a haunting melody (in the DEUTERUS MODE) and extremely powerful text.
    —Jeff Ostrowski

Quick Thoughts

    “American Catholic Hymnal” (1991)
    The American Catholic Hymnal, with IMPRIMATUR granted (25 April 1991) by the Archdiocese of Chicago, is like a compendium of every horrible idea from the 1980s. Imagine being forced to stand all through Communion (even afterwards) when those self-same ‘enlightened’ liturgists moved the SEQUENCE before the Alleluia to make sure congregations wouldn’t have to stand during it. (Even worse, everything about the SEQUENCE—including its name—means it should follow the Alleluia.) And imagine endlessly repeating “Alleluia” during Holy Communion at every single Mass. It was all part of an effort to convince people that Holy Communion was historically a procession (which it wasn’t).
    —Jeff Ostrowski
    “Canonic” • Ralph Vaughan Williams
    Fifty years ago, Dr. Theodore Marier made available this clever arrangement (PDF) of “Come down, O love divine” by P. R. Dietterich. The melody was composed in 1906 by Ralph Vaughan Williams (d. 1958) and named in honor of of his birthplace: DOWN AMPNEY. The arrangement isn’t a strict canon, but it does remind one of a canon since the pipe organ employs “points of imitation.” The melody and text are #709 in the Brébeuf Catholic Hymnal.
    —Jeff Ostrowski
    Did they simplify these hymn harmonies?
    Choirs love to sing the famous & splendid tune called “INNSBRUCK.” Looking through a (Roman Catholic) German hymnal printed in 1952, I discovered what appears to be a simplified version of that hymn. In other words, their harmonization is much less complex than the version found in the Saint Jean de Brébeuf Hymnal (which is suitable for singing by SATB choir). Please download their 1952 harmonization (PDF) and let me know your thoughts. I really like the groovy Germanic INTRODUCTION they added.
    —Jeff Ostrowski

Random Quote

“Chants closely related to the readings should, of course, be appropriately transferred for use with these readings. For pastoral reasons also there is an option regarding the chants for the Proper of Seasons: namely, as circumstances suggest, to replace the text proper to a day with another text belonging to the same season.”

— Ordo Cantus Missae (1971)

Recent Posts

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  • New Bulletin Article • “12 October 2025”
  • “Reminder” — Month of October (2025)
  • “American Catholic Hymnal” (1991)

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