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Jesus said to them: “I have come into this world so that a sentence may fall upon it, that those who are blind should see, and those who see should become blind. If you were blind, you would not be guilty. It is because you protest, ‘We can see clearly,’ that you cannot be rid of your guilt.”

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Views from the Choir Loft

Three Common Misconceptions about Chant

Andrew Leung · February 11, 2016

CTL 3 Common Misconception about Chant 1 S THE LENTEN SEASON begins, I am sure that many parishes are starting to use the Missa Jubilate Deo as the Mass Ordinaries setting. And there are also some churches that I know that sing the English chant from the Roman Missal. Both of those settings were mentioned in Bishop Doerfler’s Instruction. In the Instruction to his diocese, the Bishop of Marquette asked that Gregorian chant, both the Propers and the Ordinaries, be brought to parishes and schools. I think that Bishop Doerfler is taking is a very brave step to restore the sacredness of the Liturgy and to reintroduce people to the Catholic Tradition.

Bishop Doerfler has already addressed the most common complaint that one gets from parishioners: “I can’t sing along”. A lot of people like to participate externally and to be able to sing with the choir. (Regarding that, I think there is a deeper problem that has to do with “prayer”, but I will save that for another post.) The bishop’s Instruction requires the active participation of the faithful in singing along with the Ordinaries and the Communion Antiphon. He is also asking the diocesan music director to train other musicians in the diocese so that they can assist the faithful.So the people will “sing along” with the choir at intervals during ever Mass. However, it is my observation that many people still see Gregorian chant in negative ways because of three misconceptions they have. If we can clear up these misunderstandings, it will be much easier for people to fall in love with chant.

“Chant is slow and long” – This is a common perception. The congregation, and sometimes even the choir, tend to drag out the chant. Many people think that is the nature of Gregorian chant. My suggestion would be to set a pace that is close to the pace people would recite the phrases, don’t encourage long pauses between phrases, and to sing with good diction. If we sing well, Gregorian chant will not be perceived as tediously slow and drawn-out..

“Chant is plain and flat, they all sound the same” – I think this misconception arises from the overuse of a certain chant settings like Mass VIII and Mass XVIII. If your congregation is already comfortable with these settings, maybe it is time to try other settings. There are other beautiful chant melodies in the Kyriale. There are also a variety of psalm tones to choose for the Liturgy of the Hours or simple Propers. For the choir, you may consider working with them on the enunciation, like where the accented syllables are; or where to pause; or what needs to be lengthened. These changes should dispel the notion that all Gregorian chant sounds the same, while exposing the congregation to various beautiful settings.

“Chant is penitential” – As I mentioned at the beginning of this post, many parishes chant the Ordinaries of the Mass during Advent and Lent, the penitential seasons, and so many people connect chant to penance. Gregorian chant is not a penance! It is true that chant can express sorrow, but it can also express other emotions. For example, the Gloria and the Sanctus are joyful hymns of praise. This misunderstanding can be addressed in homilies or through catechesis in other ways. However, the best course is to sing chant outside of Advent and Lent.

TRULY THINK THAT people will accept and appreciate Gregorian chant more easily if we can dispel these three misconceptions. Please feel free to leave comments or share your suggestions on our Facebook Page.

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

    “Common” Responsorial Psalm?
    I try to avoid arguing about liturgical legislation (even with Catholic priests) because it seems like many folks hold certain views—and nothing will persuade them to believe differently. You can show them 100 church documents, but it matters not. They won’t budge. Sometimes I’m confronted by people who insist that “there’s no such thing” as a COMMON RESPONSORIAL PSALM. When that happens, I show them a copy of the official legislation in Latin. I have occasionally prevailed by means of this method.
    —Jeff Ostrowski
    “Music List” • 5th Sunday of Easter (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 5th Sunday of Easter (18 May 2025). If such a thing interests you, feel free to download it as a PDF file. The Communion Antiphon was ‘restored’ the 1970 Missale Romanum (a.k.a. MISSALE RECENS) from an obscure martyr’s feast. Our choir is on break this Sunday, so the selections are relatively simple in nature.
    —Jeff Ostrowski
    Communion Chant (5th Sunday of Easter)
    This coming Sunday—18 May 2025—is the 5th Sunday of Easter, Year C (MISSALE RECENS). The COMMUNION ANTIPHON “Ego Sum Vitis Vera” assigned by the Church is rather interesting, because it comes from a rare martyr’s feast: viz. Saint Vitalis of Milan. It was never part of the EDITIO VATICANA, which is the still the Church’s official edition. As a result, the musical notation had to be printed in the Ordo Cantus Missae, which appeared in 1970.
    —Jeff Ostrowski

Quick Thoughts

    Antiphons Don’t Match?
    A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).
    —Corpus Christi Watershed
    When to Sit, Stand and Kneel like it’s 1962
    There are lots of different guides to postures for Mass, but I couldn’t find one which matched our local Latin Mass, so I made this one: sit-stand-kneel-crop
    —Veronica Brandt
    The Funeral Rites of the Graduale Romanum
    Lately I have been paging through the 1974 Graduale Romanum (see p. 678 ff.) and have been fascinated by the funeral rites found therein, especially the simply-beautiful Psalmody that is appointed for all the different occasions before and after the funeral Mass: at the vigil/wake, at the house of the deceased, processing to the church, at the church, processing to the cemetery, and at the cemetery. Would that this “stational Psalmody” of the Novus Ordo funeral rites saw wider usage! If you or anyone you know have ever used it, please do let me know.
    —Daniel Tucker

Random Quote

They were not ashamed to lay their hands on Sedulius, on Prudentius, on St. Ambrose himself. Only in one or two cases does some sense of shame seem to have stopped their nefarious work. They left “Ave maris stella,” “Jam lucis orto sidere,” and St. Thomas Aquinas’s hymns alone (they would have made pretty work of “Sacris solemniis”). In 1629 their mangled remnants were published.

— Rev’d Adrian Knottesford Fortescue (25 March 1916)

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  • “Lindisfarne Gospels” • Created circa 705 A.D.
  • “Music List” • 5th Sunday of Easter (Year C)

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