If the choir is worshiping, ad orientem, or facing inwards as in a monastic arrangement, then I would say that they should be visible to the congregation as models of dignified lay worship in front them, quite literally leading the congregational worship.
Here's an article that I wrote and was first posted on the traditional music website, Corpus Christi Watershed. It is about the principles used when creating psalm tones for the vernacular. It explains the method by which the tones that are given on this site were developed at Thomas More College and how we tried to incorporate the principles of tradition when adapting tones from the old English Sarum Rite written originally for the Latin to the English. Read the full article here. I always maintain that to be vital, every tradition must always have new forms that encapsulate its essential elements, but speak anew to each successive generation. This means that we cannot simply look at the past in regard to sacred music. We must also compose. If we don't the tradition will die again. So, in accord with that I say if you don't like what I have done then please think about creating something that you do like!
The painting, by the way, is from 1808 by the French artist Granet of the choir singing in the Capuchin church in Rome.
This is sacred music from pre-Reformation England. Sarum is old name for the town of Salisbury and it disappeared as a form of the Church's liturgy after the Council of Trent. However, it was retained in some form as it became the basis of Anglican church music and for the Book of Common Prayer. The concert takes place in a New York Episcopalian church - Trinity Church. I heard about it because it was posted onto my Facebook page by a TMC student who is currently out in Rome - thanks Taylor! Access the video through the image of Salisbury Cathedral below.