Unfortunately, there will be musicians that think it’s a performance. The Musicians at my parish pray hard, and all they want is to get the people to sing louder. The drums are done tastefully (by the way, the only instrument we have today mentioned in the bible is the drums), and the utilization of them creates tension in the music that pulls the people’s voices to be louder. I plan music from ALL time periods. Please remember at one time, chant was new. Harmony was scandalous. Before that, the singing that took place at the wedding at canaa was more guttural and dissonant. Tradition is important, however, we shouldn’t exclude that musicians today have very valuable additions to Catholic repertoire. You may not prefer that style of music….thats ok. But that doesn’t discredit it.
We had adoration and praise and worship music at our parish one night… 3 6th graders came up to me after that one night and asked to sign up for a slot of our perpetual adoration chapel.
PRAISE GOD!!!
I can understand some of your points. Please bear with me as I am still having trouble with the “quote” button on these threads.
I still stand my ground on the praise and worship music. Please know that I am also not talking off the top of my head, as the quote below comes directly from “The Spirit of the Liturgy”:
“Three developments in recent music epitomize the problems that the Church has to face when she is considering liturgical music. First of all, there is the cultural universalization that the Church has to undertake if she wants to get beyond the boundaries of the European mind”. Here, the Church sees “culture” as it pertains to indigenous peoples (i.e. Native Americans, African tribes, etc). While John Paul II said that the youth had their “culture”, he was not speaking in terms of the incultration that the Church seeks.
Ratzinger continues, "This is the question of what incultration should look like in the realm of sacred music if, on the one hand, the identity of Christianity is to be preserved and, on the other, its universality is to be expressed in local forms…
“The music of the masses has broken loose from this (classical setting) and treads a very different path. On the other hand, there is pop music, which is certainly no longer supported by the people in the ancient sense (populus). It is aimed at the phenomenom of the masses, is industrially produced, and ultimately, has to be described as a cult of the banal. ‘Rock’, on the other hand, is the expression of elemental passions, and at rock festivals, it assumes a cultic character, a form of worship, in fact, opposed to Christian worship.”
The Protestant praise and worship music falls into this category, especially those espoused in Life Teen Masses.
Please understand that no one is against the concept of “Life Teen” (at least, as far as I can tell). It’s the expression of the music that does set it at odds with what the Holy Father is saying, especially when, as Ratzinger, he writes, “The music of the Holy Spirit’s sober inebriation seems to have little chance when self has become a prison, the mind a shackle, and breaking out from both appears as a true promise of redemption that can be tasted at least for a few minutes.”
He makes one final observation in his chapter regarding music. "The writings of Plato and Aristotle on music show that the Greek world in their time was faced with a choice between two kinds of worship, two different images of God and man. Now what this choice came down to concretely was a choice between two fundamental types of music. On the one hand, there is the music that Plato ascribes, in line with mythology, to Apollo, the god of light and reason. This is the music that draws senses into the spirit and so brings man to wholeness. It does not abolish the senses, but inserts them into unityof the creature that is man. It elevates the spirit precisely by wedding it to the senses, and it elevates the senses by uniting them with the spirit. This kind of music is an expression of man’s special place in the general structure of being.
“But, then there is the music that Plato ascribes to Marsyas, which we might describe, in terms of cultic history as “Dionysian”. It drags man into the intoxication of the senses, crushes rationality and sjbuects the spirit to the senses. The way Plato (and more moderately, Aristotle) allows instruments and keys to one or other of these two kinds of music is now obselete and may in many respects surprise us. But the Apollonian/Dionysian alternative runs through the whole historry of religion and confronts us again today. Not every kind of music can have a place in Christian worship.”
He makes this same point, now as Pope, in Sacramentum Caritatis, where he writes, “Not every song is as good as another”, when he discusses sacred music.