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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

“Could Women Sing At Mass Before Vatican II?”

Jeff Ostrowski · August 9, 2022

OPE SAINT PIUS X caused enormous confusion in 1903 when he issued his monumental sacred music document, Tra Le Sollecitudini. Specifically, I’m referring to §13, which said women “cannot form part of the choir.” For 50 years, virulent polemics ensued, with some attacking—and others defending—the idea that females were barred from singing at Mass. (In 1938, for example, Bishop Althoff explicitly condemned Illinois nuns who played the organ at Mass!)

Terminology • Believe it or not, there are two “choirs” in each church. The choir loft contains the chorus of lay people—but there’s another choir, located near the sanctuary. The sanctuary consists of two parts: (a) PRESBYTERIUM, where Mass is offered, and (b) CHOIR, where we see choir stalls facing each other. Liturgical books—when they say “choir”—don’t usually mean “people in the choir loft.” Usually, liturgical books are referring to the priests and seminarians in choro in the sanctuary, sitting in choir stalls wearing birettas. By the way, some pipe organs have three keyboards—SWELL, GREAT, and CHOIR—and perhaps an organ expert could explain that nomenclature to me. For the record, when liturgical books mention the pair of cantors who intone the KYRIE ELEYSON “in the middle of the choir” on Holy Saturday, they don’t mean the choir loft; they’re talking about the choir near the sanctuary.1

What Pius X Told Bishops • Catholics couldn’t discern what Pope Saint Pius X meant by his declaration that females “cannot be admitted to form part of the choir.” Which “choir” did he mean? For example, did Pius X really intend to bar ladies from singing the Mass Propers? Nuns had been doing that for centuries! Moreover, when bishops had private audiences with Pius X, he assured them that prohibiting women from singing during Mass was not his intention. On 25 December 1955, Pope Pius XII addressed this issue in §74 of MUSICAE SACRAE: “Where there are not enough choir boys, it is allowed that a group of men and women or girls—located in a place outside the sanctuary set apart for the exclusive use of this group—can sing the liturgical texts at Solemn Mass.”

Females At Our Parish • In our parish, we allow women to sing at Mass—and boy can they sing! [Pardon the pun!] During the month of July, our choir does not sing. (Dr. Calabrese says it’s not healthy for volunteer choirs to sing the entire year without time off.) But during the month of July, women may sing at our 9:00AM Mass if they desire—even though the full choir is on break. Here’s a hymn we sang on a recent Sunday, which is #816 in the Brébeuf hymnal:

Hymn? Or Chant? • The melody in that video is called RAYMBAULT and its metre is 11-10-11-10. Does this sound like a “hymn” to you? Or does it sound more like a plainchant composition? In my opinion, it sounds halfway in between. It reminds me of “Mary The Dawn” from the Saint Pius X Hymnal (1953). That same melody (RAYMBAULT) is used for #816 in The Saint Jean de Brébeuf Hymnal.

What About Men? • The piece above, in my humble opinion, would not sound good sung by men. However, the Brébeuf hymnal contains hundreds of magnificent hymns suitable for men and women. Below an example (whose famous melody is called “EISENACH”). All the Brébeuf harmonizations are superb, but this one is particularly striking. In it, you have long stretches of the Soprano descending by means of stepwise motion—and whilst that’s going on, the Bass will ascend by means of stepwise motion. (And vice-versa.) That technique, which was discussed during Sacred Music Symposium 2022, is partly what makes this hymn so beautiful. No matter how many times the singers have sung it in the past, it never gets old. It’s always a delight:

M Rehearsal videos for each individual voice await you at #435.

Sadness: Most readers won’t click on the individual voice parts, and that makes me sad. When we post a “scandalous” liturgical video, we get 40,000 views. I wish we could get as many views for the rehearsal videos—we must revive authentic sacred music!


NOTES FROM THIS ARTICLE:

1   In the Extraordinary Form, only clerics and seminarians may assist at Mass in choro wearing surplice and biretta. Laymen can wear a surplice, but never a biretta. If men sing from the sanctuary, they should wear cassock and surplice. (In the Extraordinary Form, women are never allowed to wear a surplice.) The “rood screen” can also be called: choir screen, chancel screen, or jube. The “sanctuary” may also be called the chancel. The “choir” near the sanctuary may also be spelled quire.

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

Filed Under: Articles, Featured Tagged With: Eisenach Hymn, Pius X Banned Women Singers, Pius X Prohibit Ladies Choir, Pope Pius X Female Singers, Rood Screen, The Catholic Hymnal Last Updated: August 20, 2022

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About Jeff Ostrowski

Jeff Ostrowski holds his B.M. in Music Theory from the University of Kansas (2004). He resides with his wife and children in Michigan. —(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

“The priest coming nearer to the faithful; communicating with them; praying and singing with them and therefore standing at the pulpit; saying the COLLECT, the EPISTLE, and the GOSPEL in their language; the priest singing in the divine traditional melodies—the Kyrie, the Gloria, the Credo—with the faithful: these are so many good reforms that give back to that part of the Mass its true finality.”

— Archbishop Marcel Lefebvre (1965) praising vernacular readings at Mass

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