The pronunciation of the text is an interesting problem. "Church Latin" is essentially a modern Italian pronunciation. It as, as well, a close approximation to a generalized European pronunciation (with the most marked exception being the soft c, which was generally pronounced ts rather than ch). But there is good evidence for quite varied national pronunciations, especially in the later Middle Ages, and even today a national pronunciation of Latin by German, or French, or English speakers can be easily identified by most listeners. Remarkably we are as reluctant to use a historic English pronunciation as the French are to use a French one. Moreover, there is good reason to work on the Carolingian pronunciation, since it is surely a significant component in the highly inflected rhythms of the first-generation notation. Compromise pronunciations are traditionally made: the English, for example, have advocated continental vowels and English consonants. A useful compromise musically is to modify the Italian vowels imperceptibly in the direction of the French; this can give considerable suppleness and agility in the singing.

Practical musicians may have to address specific problems of American pronunciation. Pure vowels are important, maintaining exactly the same sound for the entire duration of the syllable; such diphthongs as Ky-uh-ri-e or Is-rah-ee-yel and plosive pronunciations of t, p, and k should be avoided; a special case of the last is the current British aspiration following the k of Kyrie (approximating a German ch as in ich): Khhy-ri-e.