Superiority of Traditional Music
Several weeks ago, on a Catholic men’s weekend retreat I went on, I got into a discussion with a fellow brother in Christ about liturgical music. He and I both go to the same parish, and we are both nearing 30 years of age, and both have two children under 3. That’s to say, we come from a relatively similar walk of life in terms of demographics and current life situations.
The topic of our discourse was decided once we both began to elaborate on what one another has done or is doing at the parish, whether it be this or that ministry. I had explained that I had just recently left a new effort; a commission in our parish dedicated to “liturgical life,” which led us to the topic of music in Mass.
Save the details of why I discerned leaving the commission, the short of it is, I left the group because I deemed it such that the group ‘leaders’ had already pre-determined its Protestant-like direction before the group even got together to meet and discuss the parish’s lackluster Masses.
But back to my interlocuter. I will say up front that my peer and I, although we were at opposite ends of the spectrum with regards to taste of the Mass, did have a great dialogue, and for that I am grateful. However, this fellow and I are really quite far from one another in our approaches to liturgical music, and for several reasons. Our differences begin here.
He asked me why I left the commission, and after I had explained that it was due to the leaders trampling any suggestion hinting toward the tradition of our beautiful faith with regards to music specifically, we began our discussion on how music ought to be in the Mass.
My interlocuter comes from a background drenched in a well-known organization that tailors Mass to teens. His wife had worked for said organization in another life, and he grew up attending these Masses up through college, and his family still prefers these Masses. He was indoctrinated in it and is still a big advocate of it and the music it proclaims sacred. His experience paints the picture of his vantage point in how he sees music ought to be in the holy sacrifice of the Mass.
I, on the other hand, did not grow up in said organization, so my stance does not come from the contemporary standpoint of an organization as such.
He attempted to make the case that the music of those Masses: the acoustic guitars, the drums, pianos, basses, and amplifiers, pop music, etc… leads him (and inadvertently others) closer to Christ and in his opinion, the music is reverent and holy. I simply do not agree.
Our parish is trying like hell to add more “contemporary” Masses in an effort to “attract young Catholics.” The style of music in those kinds of Masses do not foster an ambience of reverence or awe that is in line with Church tradition. Not only this, but it pushes away the young faithful.
When we dig deeper, we see that the issue of music can be traced to a problem of consumerism. We, particularly in developed westernized civilization, tend to be utterly consumeristic. That is to say, we look at practically everything with materialist lenses; the obtaining of goods for the satiation of our desires/wants. Of course, we know, this leads to nowhere. When we have this sort of mentality toward liturgical music, it will unavoidably impact other areas of Mass and then we end up running adrift and straying from the Magisterium and alter the Mass for the worse.
There are certain hymns, instruments, and Mass settings that are preferred by the Church, and given pride of place over the alternatives. For example, Gregorian Chant belongs in the Church, takes top priority as a means of communal prayer and song, but outside of Latin Masses in the Extraordinary Form, you very seldom hear it happening (except for an occasional canto during Lent or Advent).
In the General Instruction of the Roman Missal (GIRM), it states:
“All other things being equal, Gregorian chant holds pride of place because it is proper to the Roman Liturgy. Other types of sacred music, in particular polyphony, are in no way excluded, provided that they correspond to the spirit of the liturgical action and that they foster the participation of all the faithful.”
I explained this to my friend and discussed that there is indeed objectivity with regards to Mass setting, its music, and what is at stake with regard to music. I could tell, however, that none if it really mattered to him and he took the position that it wasn’t a big deal as to what kind of music we used, as long as it made us feel good and brought us closer to Christ. This stance is everywhere amongst Catholics, primarily post-Vatican II. I do not lay blame on VII, but it is certainly commonplace to hear this style of sensational-prone thinking among Catholics who are Baby Boomer era up through today.
The problem with this sort of thinking is that these sorts of emotional responses are forever flitting and fleeing; they are not consistent. Not only this, but what makes Sally feel good and closer to Christ certainly will not be what gives Mark the goosebumps in Mass. There has to be Mass settings, styles of music, hymns, and instruments that we submit to for good reason; not because the Church is antiquated and stuck in its archaic and medieval style of worship.
The Church has gifted us objectively appropriate music for a reason; to sense the transcendent and ponder the grandiosity of the Most High. Listening to 70’s era Christian pop tunes does not foster an ambience to prayerfully discern the Trinitarian God; its purpose is to elicit emotional responses to the music itself, not so much of what it attempts to do; worship, which I’ll add, does not do so well.
A favorite writer of mine and advocate for traditional reverence of our Catholic Tradition, Anthony Esolen writes beautifully on the topic here of why our beautiful Tradition holds a gold mine of beautiful hymns that are hundreds of years old, and why they ought to be used. He details how there is a superiority and a hierarchy of what ought to be used and played in Mass and why.
When we attempt to alter worship that has brought souls to Heaven for two thousand years in an effort to match the times, or model what our Protestant brethren are doing, we lose our Catholic identity and inevitably become like everyone else in the game thus losing the appeal of a reverent Mass, which nourishes in us right praise.
A denial of this can and often does lead to a perception that the Mass is alterable and should be manipulated to serve whatever we are feeling at the time, which misses the mark entirely of the Mass; the holy sacrifice of the Mass is not about us. It is not, and cannot be, what we want.
I am not alone in this way of thinking, and this is the sort of occurrence which is leading many of us younger Catholics into the Tridentine Latin Mass, or finding solid Novus Ordo Masses, those who treat the Mass as it deserves.
The caution with this is not to develop a superiority complex toward our brothers and sisters. The Masses are still technically valid I go to, but, when they fail to live up to the potential of what I’ve seen, it’s utterly heartbreaking.
Although my friend and I had a great conversation, one that was mutually understanding with care and love for one another, we arrived at an agreement to disagree with one another. I believe that I am right and that he is mistaken, but I must love him and whomever I am at odds with. That is the gospel. It certainly doesn’t mean I ought to acquiesce into lackluster Mass, but that I love my brother and ask for the guidance of the Holy Spirit to speak with charity in defense of a more appropriate Mass. When given these opportunities, it is important to remember that to disagree is perfectly fine, but it is crucial that we attempt to steer our friends into a better theological and dogmatic understanding of our Blessed Faith while remaining humble, accepting that the Lord may use you as an instrument for His will.
Editor's Note: Pictured above is “Choir Practice” painted by José Gallegos y Arnosa in 188
