HERE IS A WIDESPREAD modern notion in Catholic parishes that every moment of sung prayer during the Mass must be sung by all—priest, assembly, and choir together. Any moment where the choir sings on their own is often met with suspicion: “Isn’t that a performance?” — “Aren’t we supposed to be actively participating?” This outlook stems from a misunderstanding of what the Church means by participatio actuosa—“active participation”—a phrase popularized by the Second Vatican Council. Too often, it is interpreted to mean that everyone must be doing something externally visible at all times—especially singing. As a result, there is sometimes an almost frantic effort to involve the assembly at every turn, sometimes even to absurd lengths. A priest once suggested to me that we “mic” the people in the pews during Mass to make their responses more audible and robust.
But this is a mistaken approach, and it can have unintended consequences: cluttered liturgies, lack of reverent silence, and little time for contemplation. It also ignores the long and beautiful tradition of the choir singing on behalf of the people during the liturgy—not in place of the people’s prayer, but in service to it. In truth, the Catholic Church not only permits but encourages moments when the choir might sing on their own. The 2007 U.S. bishops’ document Sing to the Lord: Music in Divine Worship outlines several places in the Mass where this is entirely appropriate:
“The choir must not minimize the musical participation of the faithful. However, there should also be times when the choir sings alone. Appropriate times where the choir might commonly sing alone include a prelude before Mass, the Entrance chant, the Preparation of the Gifts, during the Communion procession or after the reception of Communion, and the recessional.” (Sing to the Lord, 30)
This guidance is rooted in broader liturgical norms. The General Instruction of the Roman Missal (GIRM), the foundational document outlining the structure of the Mass, supports this understanding. For example, GIRM 48 explains that the Entrance Chant can be executed by “the choir alone,” and GIRM 53 allows for the same flexibility at the Offertory.
Many Catholics are surprised to discover that specific parts of the Mass are assigned to be sung by specific groups of people. Mass music is not distributed arbitrarily; rather, it follows a carefully structured hierarchy in terms of who is responsible for singing different parts. This hierarchy consists of three degrees, each with its own assigned responsible party.
The first degree includes the Order of the Mass—such as the dialogues, greetings, presidential prayers, and prefaces—which are properly sung by the clergy: the bishop, priest, or deacon. Indeed, the clergy (not the cantor or choir) are the primary leaders of singing within the Mass. Not something you typically hear at a liturgical music workshop!
The second degree is the Ordinary of the Mass—the fixed parts that are repeated regularly, such as the Kyrie, Gloria, Credo, Sanctus, and Agnus Dei. These parts are assigned to the assembly, encouraging the active vocal participation of the faithful.
The third degree is the Propers of the Mass—texts that change according to the liturgical day or season, such as the Entrance Antiphon, Gradual, Alleluia, Offertory, and Communion Antiphon. These five parts are primarily the responsibility of the choir or schola, who are appointed to sing these more musically and liturgically complex elements on behalf of the people.
But what about “active participation”?
To answer that, we must remember that active participation is not first about doing. It is about engaging fully—interiorly and exteriorly—in the sacred mysteries. Pope St. John Paul II clarified this in his 2003 encyclical Ecclesia de Eucharistia:
“Active participation certainly means that, in gesture, word, song and service, all the members of the community take part in an act of worship… Yet active participation does not preclude the active passivity of silence, of listening, of profound personal engagement in the dialogue with God.” (Ecclesia de Eucharistia, 52)
Listening is not a passive activity in the spiritual life—it is a profound form of receptivity. The Church’s 1967 document Musicam Sacram affirms this:
“The faithful should also be taught to unite themselves interiorly to what the ministers or choir sing, so that by listening to them they may raise their minds to God.” (Musicam Sacram, 15)
There are moments in the liturgy when listening to the choir sing is the most appropriate way to participate. Consider the Offertory or Communion: the faithful are often praying deeply during these moments, perhaps moved by the beauty of the music to deeper contemplation. A choral motet here is not a performance but a prayer—offered to God on behalf of the Church.
St. Augustine once said: Cantare amantis est (“Singing belongs to the one who loves”). When the choir sings with reverence and artistry, their love becomes contagious. The congregation may not be singing with their voices, but their hearts are lifted in worship. In a time when the sacred is often flattened into the merely functional or utilitarian, we should be cautious about reducing music in the Mass to a kind of holy karaoke. Sacred music is not just about communal efficiency; it is about transcendence. It is about creating space for mystery.
Let the choir sing. Let the people listen. And let all—singers and hearers—offer their hearts in love to the God who is worthy of every note.
We hope you enjoyed this article by Mark Haas.
About Mark Haas: Mark Haas is composer and speaker who promotes sacred music within the Catholic tradition. His liturgical music has been sung in over 600 parishes, in 10 countries, including musical settings for various ordinations and dedications. He currently serves as the Director of Music at the Ave Maria Parish in Ave Maria, FL where he lives with his wife Renae and their seven original compositions.
