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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

    A Nice Hymn In Spanish
    In my humble opinion, this is a really beautiful hymn in Spanish. If I practice diligently, I’ll be able to pronounce all the words properly. If you’re someone who’s interested in obtaining a melody only version (suitable for your congregational ORDER OF WORSHIP) you can steal that from this.
    —Jeff Ostrowski
    “Music List” • 21st in Ordinary Time (Year C)
    Our choir returns on Sunday, 24 August 2025. Some have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for it, which is the 21st 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. When it comes to the feast of the Assumption (15 August 2025), I have uploaded the music list for that Mass—but not the “bi-lingual” Mass in the evening (Spanish, Latin, and English) which has completely different music.
    —Jeff Ostrowski
    “Entrance Chant” • 21st Sunday Ordin. Time
    You can download the ENTRANCE ANTIPHON in English for the 21st Sunday in Ordinary Time (Year C) which is coming up on 24 August 2025. Corresponding to the vocalist score is this free organ accompaniment. It’s set in a melancholy mode, but if you heard my choir’s female voices singing it your soul would be uplifted beyond belief. If you’re someone who enjoys rehearsal videos, this morning I tried to sing it while simultaneously accompanying my voice on the pipe organ.
    —Jeff Ostrowski

Quick Thoughts

    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
    Pope Pius XII Hymnal?
    Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.
    —Corpus Christi Watershed
    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed

Random Quote

“As often as possible they gathered together the children of the village and sat them down in the cabin. Father Brébeuf would put on a surplice and biretta and chant the Our Father, which Father Daniel had translated into Huron rhymes, and the children would chant it after him. Next, he taught them the sign of the cross, the Hail Mary, the Apostles’ Creed, and the Commandments.”

— Biography of St. Jean de Brébeuf

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