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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 2)

Andrew Leung · June 14, 2018

CTL Raising the Musical Standards 2 AST WEEK, I stated in my post that there is no conflict between singing professionally and praying wholeheartedly. One does not need to ignore the spiritual aspect in order to raise the standards of liturgical music. Another common misconception that people have is that professional church choirs discourage the participation of the faithful.

Music in the vernacular and composed based on different cultures of the local churches were introduced after the Council. These days, people also emphasizes more on participating externally in the liturgy. The mentality that the congregation needs to sing everything also caused the decline of the musical standards. But the Council really intended that the faithful participate active in the liturgy both externally and internally.

In order to participate internally, quality music is needed. Music, whether it is a congregational hymn or a motet, out of tune will definitely disturb and distract people from prayer. It is almost impossible to enter into any deep conversation with God when surrounded by people making noise. Singing “okay” may not be too disturbing; however, if the choir can raise their musical standards, the sublime music can lead the faithful into deeper meditation.

The choir’s role as a leader in congregational singing can only be carried out efficiently when the choir sings well. No one wants to sing with a choir that cannot carry the tune. On the contrary, choral singing with high standards can encourage the faithful to sing out more. I have witnessed, in different churches, how the congregation participate externally in hymn-singing more actively when the choir sings in harmonies, and occasionally a descant on the last verse of a hymn. Quality singing will encourage active external participation.

In recent years, there have been an increase in conferences and workshops on church music including the upcoming Sacred Music Symposium in Los Angeles, Summer Sacred Music Workshop in Charlotte, NC, the CMAA’s Sacred Music Colloquium and many more. These are some great opportunities for musicians to further their studies in sacred music and to perfect the techniques. Participating in these conferences is one effective way to help raise the musical standards.

ERSONALLY, I also find occasional concerts also help raising the musical standards in parishes. Performances of church music increase people’s appreciation and interest in liturgical music. They also create excitements among choir members and encourage them to strive to do their best. Putting musicians under the spotlight from time to time helps push them forward.

Two weeks ago, Vox Antiqua brought some beautiful Marian music to Our Lady of China Church in Hong Kong. The Marian Concert included scriptural readings and choral music chosen based on the life of Mary. Towards the end of the concert, we sang this hymn with the congregation. People were just so eager to sing and the church started to shake.


The original text, which is in Chinese, of this hymn was written by a Franciscan friar from Hong Kong. Here is the translation:

1. Most good and gentle Mother, most pure and stainless;
Cleanse my heart, and lead me to repentance;
To follow your Son more nearly, consecrating my whole life to you.
Proclaiming God’s name to the world, until to heaven I go.

Refrain:
My Mother, my Queen, and my Hope; transform my spirit, so that I may be Christ-like.

2. O sweet Mother, we implore your mercy;
Increase in us God’s grace and strength, to grow in virtues.
Keep us away from sin, and to live out the spirit of Christ;
To follow our Lord’s teaching, and to grow in sanctity throughout my entire life.

Soli Deo Gloria!

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

Filed Under: Articles Last Updated: July 7, 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

If they protest and want, for example, to retain at least the familiar chants of the ordinary Mass in Latin, they are told that their protest is worthless. They are not “trained.” There is no reason to take account of what they say!

— Father Louis Bouyer (1968)

Recent Posts

  • “Three Reasons To Shun Bad Hymns” • Daniel B. Marshall
  • “Puzzling Comment” • By A Respected FSSP Priest
  • New Bulletin Article • “12 October 2025”
  • “Reminder” — Month of October (2025)
  • “American Catholic Hymnal” (1991)

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