On Hymnody- Music at ABVM

ON HYMNODY

There are now, and probably always have been, questions about liturgical music regarding style, preferences, how and why we do what we do. There is a deep connection between liturgy and music, one that goes two ways: good liturgy promotes good music, but a low standard of liturgical music detracts from the liturgy.

To this end, please consider the following:

An important and underappreciated part of the work of Vatican II was an effort to support and preserve our incredibly rich treasury of sacred music. Gregorian chant and polyphony were to be preserved as of utmost importance. Through misinterpretation of the documents, and to attract people to the liturgy, some post-Vatican II composers introduced conventional contemporary musical styles from the secular world. These new hymn and Mass settings came into such wide use that for most Catholics today the great historical music of the Church remains unfamiliar and underappreciated. Unfortunately, many of these compositions are not only simplistic musically but are theologically and poetically deficient. Many faithful Catholics assume that what mainstream publishers offer appropriately reflects Catholic doctrine.

This is not always the case. Both the St. Michael Hymnal and the Pew Missal have many historical hymns that we continue to sing because they have stood the test of time. They are well written musically, and the poetry is theologically sound. There are some good post-Vatican II hymns in our books, and we use them; however, many hymns found in other hymnals are not included, because they are of a poor quality musically, poetically and/or theologically. Also, some of the contemporary praise songs in other hymnals are intended as solo works and are full of syncopation and complex rhythms which make them difficult to sing and therefore discourage participation.

Moreover, we can declare confidently that as our highest expression of worship, the liturgy demands we offer to Almighty God our very best. The liturgy should, in its sacred character, stand apart from what can be considered “common,” such as we hear on the radio or in concerts. Bringing music that fails to reach this standard into the liturgy cheapens our worship and lessens its dignity in the minds of believers for many reasons, including association with common musical forms.

As an evangelical people, the Church should influence the culture, not the other way around.

For these reasons, popular music styles do not belong in the sacred liturgy. They may be pleasant to listen to on the radio and have place in church gatherings and praise services, but they fail to reach the high standards for liturgical music.

Annunciation works to choose hymns fitting for each Mass. Some may not be familiar to you at first, but open your hymnal, try to follow the direction of the notes and read the words; we hope you will see how the music amplifies the liturgy of the day. And join in the singing! It is part of your offering to God in worship.

“On these grounds Gregorian chant has always been regarded as the

supreme model for sacred music, so that it is fully legitimate to lay down the

following rule: the more closely a composition for church approaches in its

movement, inspiration and savor the Gregorian form, the more sacred and

liturgical it becomes; and the more out of harmony it is with that supreme

model, the less worthy it is of the temple.” (St. Pius X, Motu Proprio, Tra le

Sellecitudini)

• Mary-Ellen Harris and Father Sean Loomis