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Since the introduction of Catholic faith in Korea in 1784, its liturgy and music have evolved in four distinctive phases: “Chun-joo Ga Sa” period; the introduction of Gregorian chant; the early twentieth century; and the late twentieth century. Foreign missionaries played a crucial role in advancing the Korean Catholic mass music of ‘the early twentieth century’. “La Société des Mission étranger de Paris” introduced french chant mostly in Seoul and Daegu, while the Benedictines established german choral music in Tokwon and Yenki. During this period, monasteries were central in publishing the hymnals. Most notably, the tradition of “Chun joo Ga Sa” in the early Korean Catholic Community had almost completely disappeared from the liturgy, while mass music based on the European tradition became the mainstay of the Korean Catholic liturgy. Beginning with the Catholic Hymnal, published in 1948 by Rev. Lee Moon Geun, individual archdioceses gradually replaced monasteries in leading the publication of hymnals in ‘the late twentieth century’. Arch- diocesan hymnals were soon standardized to nation-wide hymnals. The Benedictine Order during this period focused on developing and publish- ing chants, in the Gregorian tradition, for the Liturgy of the Hour, unique to the Order. This essay will discuss the historical and musical significance of the Benedictine hymnals published in the early twentieth century, as well as the Order-specific liturgical music in the late twentieth century. The essay will also examine musical value and limitations of the Benedic- tine hymnals in the history of the Korean Catholic Church, especially within the liturgy.