MERGED: Music in Mass/Sacred Music

[benedictgal]

From the USCCB website, Sing to the Lord

In the years immediately following the liturgical reforms of the Second Vatican
Council, especially because of the introduction of vernacular language, composers and
publishers worked to provide a new repertoire of music for indigenous language(s). In
subsequent decades, this effort has matured, and a body of worthy vernacular liturgical music
continues to develop, even though much of the early music has fallen into disuse. Today, as they continue to serve the Church at prayer, composers are encouraged to concentrate on
craftsmanship and artistic excellence in all musical genres.
85. The Church awaits an ever richer song of her entire gathered people. “The faith of
countless believers has been nourished by melodies flowing from the hearts of other believers,
either introduced into the Liturgy or used as an aid to dignified worship. In song, faith is
experienced as vibrant joy, love, and confident expectation of the saving intervention of God.”

However, Sing to the Lord is not a binding document. It failedl to receive the necessary 2/3 vote of the Latin Rite bishops in order for it to be sent to Rome to get the required recognitio. Even though it does quote the authoritative documents of the Church in some respects, there are portions of the document that actually bring it into conflict with the very document on which SttL was supposed to be based: Liturgiam Authenticam, specifically when it concerns the additional tropes for the Agnus Dei.

The powrpoint that the USCCB had proposed, on which the original document was to be based, had some very strong language. In fact, it was actually quite good and cut to the heart of the matter. Unfortunately, the publishing houses, the NPM and the FDLC pretty much hijacked the document and sverely watered down what would have been something of real value. The one thing that the USCCB did vote on and send to Rome was a proposed directory of music. However, I suspect that there were problems with the selections because, it’s been four years since the directory has been submitted and it has not yet received recognitio from Rome.

 

[snowlake]

In defense of this position I offer you the words of Cardinal Arinze : "The local church should be conscious that church worship is not really the same as something we sing in a bar, or what we sing in a convention for youth. Therefore it should influence the type of
instrument used, THE TYPE OF MUSIC USED.

The styles of music represented by the above comments are the most-played in my parish and in surrounding parishes in my diocese. From his comments, obviously certain music is not appropriate. In your opinion, and the opinion of the others on this thread,
WHAT IS HE TALKING ABOUT if not secular-style compositions? And what constitutes
a secular style? I think that this has been demonstrated in the analysis of On Eagles’
Wings, and a lot more could be said. It has to do with the actual notes, rhythms, harmonies, melody-types, and certain stylistic conventions/cliches that are associated
with them.

 

[snowlake]

However, Sing to the Lord is not a binding document. It failedl to receive the necessary 2/3 vote of the Latin Rite bishops in order for it to be sent to Rome to get the required recognitio. Even though it does quote the authoritative documents of the Church in some respects, there are portions of the document that actually bring it into conflict with the very document on which SttL was supposed to be based: Liturgiam Authenticam, specifically when it concerns the additional tropes for the Agnus Dei… The one thing that the USCCB did vote on and send to Rome was a proposed directory of music. However, I suspect that there were problems with the selections because, it’s been four years since the directory has been submitted and it has not yet received recognitio from Rome.

Thank you BG! This really does help me understand the conflict. How soon do you think we can look forward to clarifications/corrections?

Subsidiarity, subschmidiarity. The Vatican documents are the more important ones in this case then.

 

[pnewton]

However, Sing to the Lord is not a binding document. .

Neither is Spirit of the Liturgy, yet it is quoted here. I did not say it was binding. I said it was on the USCCB website, which is true.

In light of all the non-binding posts we have here, I deemed it is as least as valuable as the best post here.

Subsidiarity, subschmidiarity. The Vatican documents are the more important ones in this case then.

Now if we want binding posts, I can quote where Pope Benedict after he began his papacy promulgated subsidiarity in an encyclical, enschmyclical.

 

[benedictgal]

Neither is Spirit of the Liturgy, yet it is quoted here. I did not say it was binding. I said it was on the USCCB website, which is true.

In light of all the non-binding posts we have here, I deemed it is as least as valuable as the best post here.
Now if we want binding posts, I can quote where Pope Benedict after he began his papacy promulgated subsidiarity in an encyclical, enschmyclical.

While the prepapal writings of Pope Benedict XVI may not be binding, they are, in essence, a pretty good direction as to where we are heading, though. What he wrote as Cardinal Ratzinger he still believes and holds fast to as Pope Benedict XVI. In fact, much of what he wrote as Cardinal Ratzinger certainly came out in both Sacramentum Caritatis and his MP on the EF.

 

[snowlake]

The powrpoint that the USCCB had proposed, on which the original document was to be based, had some very strong language. In fact, it was actually quite good and cut to the heart of the matter. Unfortunately, the publishing houses, the NPM and the FDLC pretty much hijacked the document and sverely watered down what would have been something of real value. The one thing that the USCCB did vote on and send to Rome was a proposed directory of music. However, I suspect that there were problems with the selections because, it’s been four years since the directory has been submitted and it has not yet received recognitio from Rome.

Where can we read the powerpoint that the document was based on? This is very important information here. How were the publishing houses able to interfere w/
the information set forth in the document? How are they able to change anything the
Bishops want to say? I’m totally ignorant of the process of document-writing by the bishops. Don’t they have the freedom to say whatever they want? Or are they being held
hostage like the rest of us?

 

[snowlake]

Now if we want binding posts, I can quote where Pope Benedict after he began his papacy promulgated subsidiarity in an encyclical, enschmyclical.

. Touche.

But I was under the impression that the subsidarical things that our bishops write
have to be in union w/ Rome. Especially in order for them to be binding.

 

[ProVobis]

While the prepapal writings of Pope Benedict XVI may not be binding, they are, in essence, a pretty good direction as to where we are heading, though. What he wrote as Cardinal Ratzinger he still believes and holds fast to as Pope Benedict XVI. In fact, much of what he wrote as Cardinal Ratzinger certainly came out in both Sacramentum Caritatis and his MP on the EF.

Not to mention being more consistent with SACROSANCTUM CONCILIUM.

 

[pnewton]

While the prepapal writings of Pope Benedict XVI may not be binding, they are, in essence, a pretty good direction as to where we are heading, though.

And I am a fan of the book her wrote, make no mistake. There is much in the book he thought good that he has not seen prudent to implement, at least not yet. That bears reflection, too. I also see Sing to the Lord as useful.

 

[Cat]

There wouldn’t be anything wrong with you respectfully asking him about this. Yourself.

There are those who have studied the documents and have come to the conclusion that clapping is forbidden in the Mass. These are the people who should write to the bishop, not me.

When I read the documents, I come to very different conclusions. E.g., I see no dictum forbidding clapping in Mass.

All I have seen that would suggest that clapping is not acceptable in the Mass is an “opinion” written by Joseph Ratzinger several years back. This is not binding policy; it’s an opinion from someone worth listening to. But as it is not “infallible”, I think it’s OK to respectfully disagree with the opinion. After all, many people on this board disagree with the opinions of other esteemed bishops, and that’s OK, right?

 

[snowlake]

There are those who have studied the documents and have come to the conclusion that clapping is forbidden in the Mass. These are the people who should write to the bishop, not me.

When I read the documents, I come to very different conclusions. E.g., I see no dictum forbidding clapping in Mass.

All I have seen that would suggest that clapping is not acceptable in the Mass is an “opinion” written by Joseph Ratzinger several years back. This is not binding policy; it’s an opinion from someone worth listening to.

I may be mistaken, but I don’t think that anyone said it was binding. I was just offering my
opinion, just like you. That particular topic was a kind of side-track.
Like Pope John Paul said, just because we CAN do something doesn’t mean that we
OUGHT to.

 

[Cat]

Cat;6811738:

What Gregorian chant have you heard? How much of it have you heard? Where did you hear it? When you hear it at your parish, do you really think it sounds spooky?

I’ve heard it in horror movies, and back when Gregorian chant became “pop” music, my husband bought the CD. I didn’t like it. (We weren’t Catholic then.)

It’s not done in our parish. As far as I know, the only parish in our city where it is done is at the Oratory where the TLM is offered daily and several times on weekends. I don’t even think Gregorian chant is done at the Cathedral, which is in our city. It might be done at the Poor Clare’s Convent in our city, but I’ve never attended Mass there (it’s at an inconvenient time for me)

If you have read any of my other posts in this thread, you will remember that many of the musicians capable of doing Gregorian chant left the Catholic churches after the firing of the gay music minister at our parish.

Cat, you seem hell-bent on insisting that if something is used outside of the liturgy ,that makes it secular. That is totally backwards. And illogical. Who could possibly control
the use or misuse of liturgical things outside of the Mass? If it’s a misuse, then the word
“sacrilege” applies. As far as it being simply a question of your personal background, it needs to be said that there comes a time in our lives when we have to face facts and not let our emotions/past experiences rule us. It has something to do with growing up and becoming mature spiritual persons. The Eucharist accomplishes this in us. If we ask the
Divine Physician to heal our memories and false associations, He will.
I hope you are not letting your personal “feelings” affect those around you. Is this attitude reflective of the musicians inyour parish? Have any of them protested the simple singing of the Kyrie, Sanctus and Agnus Dei? Are their thoughts similar to yours?

Back at you. A few posts back, you spent a great deal of time proving why “On Eagle’s Wings” is a “jazz” type song and therefore, inappropriate for Mass.

I agree entirely with you–just because a style or genre of music, or a particular instrument, is used in secular settings does NOT make it inappropriate for the Mass.

And once again, for the third time, I will state that my personal feelings have NOTHING to do with what is appropriate for Mass. Again, for the third time in this thread, I will reiterate that the documents clearly state that Gregorian chant is supposed to have “pride of place” in the Mass, and that is the way it should be, whether I like it or not. It’s not all about me or anyone else. It’s about what the Church tells us to do. I will happily accept whatever the Church requires of us in the mass.

Is that clear now? I’m predicting that if this thread is allowed to continue, in about 20 posts, I will have to repeat this again.

We do not have any Latin at all in the Masses in our parish. Every once in a while (like 3 or 4 times a year), one of the priests will say the Greek “Kyrie” instead of the English. And during Lent, after the Stations of the Cross on Fridays, there will be Benediction of the Blessed Sacrament, and the hymns will be done in Latin. That’s all I know of. Of course, we have nine Masses each Sat/Sun, so perhaps there is Latin in one of the Masses that I never attend.

The Music Director in our parish is quite unknowledgable. E.g., a few weeks ago, I mentioned to him that I’m wondering how the hymnals are going to change the words to a certain hymn (contemporary) that uses the word Yahweh. He didn’t know what I was talking about, so I explained that we are not supposed to use the word “Yahweh” in Mass anymore. He had NO idea. He had not heard this at all. (I didn’t say any of this in a snooty, “superior” way, in case anyone’s wondering. I was just making conversation with him.)

As I have said many many times in this thread, I am not in any position to make any decisions about any of the music in our parish. I merely play the piano when I am needed. I play what they tell me to play. It is the job of the Music Minister to select the music for the Masses. I seldom see him. I have asked in the past if there will be more Latin or chant in our Masses. He says no because no one knows anything about it.

In spite of the large size of our parish (7000+), there are actually only a few dozen people in the parish who are involved with the choir and cantoring, and only a few of these could be truthfully called “musicians.” From what I have seen, most of these willing servants (most are middle aged or older, BTW) are very happy with our current parish music. We are not a fussy bunch.

The only “protest” I have ever seen from musicians in the Catholic Church was when the gay music minister was fired. A few Sundays later, they and others in the Church wore rainbows to protest his firing and the teachings of the Catholic Church against homosexuality. This was followed by a public denunciation of the parish and the diocese and a rejection of the Catholic Church. I see very few good vocal musicians in our Catholic parishes in our city; I can think of three off the top of my head, and four if I’m included, although since all I do is play piano, I really don’t think I should be included. There are also two teenagers who are very good singers.

So I honestly don’t expect a lot Latin and chant anytime soon in our parishes. And after all, anyone in our city who wants that kind of music in Mass, or who wants to sing that kind of music can head downtown to the Oratory for the TLM, which is offered daily and several times on weekends. There is a schola there, and an organist, and according to my friend who is a faithful attender of the TLM, the conductor of the music knows what he’s doing. So every Catholic can have what they like in our city!

 

[ProVobis]

So I honestly don’t expect a lot Latin and chant anytime soon in our parishes. And after all, anyone in our city who wants that kind of music in Mass, or who wants to sing that kind of music can head downtown to the Oratory for the TLM, which is offered daily and several times on weekends. There is a schola there, and an organist, and according to my friend who is a faithful attender of the TLM, the conductor of the music knows what he’s doing. So every Catholic can have what they like in our city!

For what it’s worth, I heard a big announcement on one of the Chicago stations that Aurora University will be finishing up a very large pipe organ pretty soon so that it can train more organists. That’s in your diocese, isn’t it?

 

[snowlake]

snowlake;6811796:

The only “protest” I have ever seen from musicians in the Catholic Church was when the gay music minister was fired. A few Sundays later, they and others in the Church wore rainbows to protest his firing and the teachings of the Catholic Church against homosexuality. This was followed by a public denunciation of the parish and the diocese and a rejection of the Catholic Church.

I’m very sorry this happened. I didn’t know the full extent of it. How did your Pastor respond to all of it?

The Latin /Greek Kyrie/Sanctus/Agnus Dei is printed in just about every hymnal I’ve seen.
It is so very simple and easy. It’s not any harder than anything else that is sung at church.
The people who left your church are not neede in order for it to be used.

 

[snowlake]

snowlake;6811796:

IBack at you. A few posts back, you spent a great deal of time proving why “On Eagle’s Wings” is a “jazz” type song and therefore, inappropriate for Mass.

I was trying to show that the actual compositional style is not part of any genre in the
centuries-old deposit of Catholic Sacred Music. It is clearly secular in style (musical style that is. I’m not speaking of the text, that’s not my area). There are many contemporary
compositional styles that could be used that would be still in keeping w/ the sacred
character of sacred music.

So many people (and I’m not speaking of you or the people on this thread, necessarily)
have no idea whatsoever that a piece of music can be analyzed and placed in its proper genre.

Even in secular spheres “contemporary” doesn’t refer to popular styles alone. If you would
say “contemporary music” to me, I immediately think of composers such as Bartok,
Prokofieff, Shostakovich, Copland, Britten, Glass, Adams, etc., etc., and not necessarily
anything related to pop music at all!

“Contemporary sacred music” , IN MY OPINION (since there is such poor direction in this area and such lack of clarity) should have nothing to do with such blatant pop styles as we hear in most of our parishes. I too, am waiting to hear what the upshot of all of this is, and will happily give my assent to the church. Until then, I think it’s better to err on the side of caution.

I don’t really get the connection of this w/ what I said to you about trying to heal your
memories and inaccurate associations. I don’t have any bad memories of jazz/pop. I happen to really like a lot of it, and make a lot of my income by playing it two nights a week. I disagree w/ its use at Mass because of what the Mass actually is - it’s not a meeting down at the local blues club. When secular music is used, it creates a secular atmosphere. As humans, we already struggle with the inability of our senses to apprehend the Divine Reality (just read the English translation of Tantum Ergo), and don’t need to have our senses fighting against the tide of the atmosphere provoked by secular music. The Mass is “totally other”. The music needs to be too. Or at least it should aid us in apprehending these realities.

Another problem I have w/ it , besides its secularity, is the sensuality of it all. It works on us like a soundtrack to a movie, and is always playing games w/ the emotions JUST MY
OPINION, but I think it can be demonstrated by those who are learned in the psychology of music. St. Augustine had similar concerns.

 

[benedictgal]

There are those who have studied the documents and have come to the conclusion that clapping is forbidden in the Mass. These are the people who should write to the bishop, not me.

When I read the documents, I come to very different conclusions. E.g., I see no dictum forbidding clapping in Mass.

All I have seen that would suggest that clapping is not acceptable in the Mass is an “opinion” written by Joseph Ratzinger several years back. This is not binding policy; it’s an opinion from someone worth listening to. But as it is not “infallible”, I think it’s OK to respectfully disagree with the opinion. After all, many people on this board disagree with the opinions of other esteemed bishops, and that’s OK, right?

Cat, just because something may not be specifically mentioned in the documents, that does not necessarily give anyone carte blanche to do this. Please note what the Constitution on Sacred Liturgy has to say:

1. Therefore no other person, even if he be a priest, may add, remove, or change anything in the Liturgy on his own authority.

And again, in Redemptionis Sacramentum:

[11.] The Mystery of the Eucharist “is too great for anyone to permit himself to treat it according to his own whim, so that its sacredness and its universal ordering would be obscured”.27 On the contrary, anyone who acts thus by giving free rein to his own inclinations, even if he is a Priest, injures the substantial unity of the Roman Rite, which ought to be vigorously preserved,28 and becomes responsible for actions that are in no way consistent with the hunger and thirst for the living God that is experienced by the people today. Nor do such actions serve authentic pastoral care or proper liturgical renewal; instead, they deprive Christ’s faithful of their patrimony and their heritage.

The Holy Sacrifice of the Mass is no one’s personal property. It is the Church’s greatest prayer. It is our most sacred heritage. We should not cheapen it by introducing elements that mar its sacred beauty.

 

[snowlake]

Cat: I forgot to say that I don’t even approach anyone at Mass about the music after the very few times that I complimented everyone on their gifts/talents and asked them (VERY
nicely) if they would ever consider using the organ, etc, The response was so rude that
I’ve never tried it again. I don’t let my personal ideas on the songs used affect those around me… but it wouldn’t be a bad thing to do (if done nicely) because what I have to say is clearlry encouraged by the Church. The only murky areas have to do w/ the contemporary songs! Therefore, I should at least be given equal time.

 

[pnewton]

So I honestly don’t expect a lot Latin and chant anytime soon in our parishes. And after all, anyone in our city who wants that kind of music in Mass, or who wants to sing that kind of music can head downtown to the Oratory for the TLM, which is offered daily and several times on weekends

I see more movement in that direction. It is possible that in the future some of these things might be mandated. If you ever get shoved in a corner, here is a resource that helped me:

adoremus.org/JubilateDeo.html

Also, the Church moves slowly. If any mandate occurs, it is not unusual for implementation to take place in a time frame of years.

 

[Prometheum_x]

I’ve been avoiding this, but have finally succumbed to the temptation to analyze a “song”
from the current repertoire. First, let me start w/ the following disclaimers:
1. I actually LIKE the song, and will not be held responsible for those who
misinterpret my intentions.. The main purpose of the analysis is to discover
the actual genre of the piece.

    2. I wasn't a Music Theory major, so my analysis might not be impeccable.
        Corrections are welcome. 

    3. This was a quick scanning of the piece. All that was available to me was 
        a lead sheet and lyrics. It was easy enough for me to provide the melody
        notes  myself.

The song chosen is: ON EAGLES WINGS by Joncas

The first verse starts with a dissonance on the the heaviest beat of the measure,
which resolves on the second beat, echoing many a pop song.

Still on line 1, the word “shelter” is accompanied by a tonic Major 7th chord, a pop chord that is derived from jazz.

Line 2 echoes the first line as far as the dissonance and tonic Major 7th is concerned, but adds another nod to pop/jazz: the syncopations on the second half of beats 1 and 3.
(on the word “in” and on the second syllable of the word “shadow”.) The ear immediately picks up on this pop cliche.

Line 3 sports a modulation worthy of Barry Manilow himself. Have we gone to the parallel minor and started out w/ the major III chord, or have we actually modulated
to F major ?(The lead sheet is in the key of D)

Now let us treat of the refrain. In the writer’s opinion, this is the stanza that everyone goes
ga-ga over.The first verse is awkward and quite homely compared to it.The refrain is true comfort food. Not only are the lyrics tres comforting, but the music
is as well. Lush harmonies, downbeat dissonances that resolve, jazz elements…let us begin our journey:

The first line sends us immediately into pop-heaven : the tonic major 7th is compounded by the adding of the 9th in the melody ( on the word “raise”, which is brilliantly lengthened
this time. Instead of it being short-long, as in the sycopations above, it is long-short, allowing us to bask in the luxury of the cushy sound for a longer period.)

The next line contains a jazz 9th chord when including the melody note on the word
“bear”. This is followed by a chord that has an added 6th on the word “breath”, another
convention of the jazz idiom.

At this point I concluded my analysis.
According to the facts found, this is a piece of music written in a secular style called
“pop”.
I submit my findings to the committee.

I’m not a music theory major, but I did take 6 semesters of theory during my undergraduate studies and, God permitting, I would like to study it at a graduate level sometime.

I also like the song, but I only use it at funerals (it is requested frequently) and when Ps 91 is featured in the liturgy for the day.

First of all, your strongest argument for the pop style is the existence of dissonances on strong beats which subsequently resolve. However, this in itself does not mean pop or jazz influence, since this is a well known phenomenon ever since the advent of polyphonic music. Depending on the context, you might have, for example an appoggiatura or suspension. See Palestrina, Bach or Beethoven for examples.

Major 7ths can likewise be found long before jazz. See this excerpt from Bach for a tonic major 7th:

en.wikipedia.org/wiki/Fileissonance_in_Bach.PNG

Domenico Scarlatti also made frequent use of an ornament known as the acciaccatura, in which a chord would be played with added dissonant tones. The consonant notes would be held for the full duration, and the dissonant tones would be released almost as soon as they were played. This produced a coloring effect without affecting the harmony.

I don’t know how I would play the Dmaj7/F# on the guitar, but on the piano, I treat the maj7 as a non-harmonic tone and I am careful to keep it from sounding like an integral part of the chord (similar to the idea behind the acciaccatura). Otherwise, the chord will end up sounding more like an F#m.

In terms of syncopation, this is not a heavily syncopated piece. There is only one motive that is syncopated, so I think it is a stretch to call it jazz syncopation. Again, syncopation existed long before jazz.

Regarding the “modulation”, in my opinion it doesn’t reallly modulate, since it never cadences in a new key. I would regard it instead as briefly borrowing from the parallel minor. That is, however, a matter of opinion. I would not at all consider it to be a modulation to F major, due to the lack of any cadence or dominant.

I’m not sure why you stated that the refrain starts with a tonic major 7th, since the refrain doesn’t contain any major 7th chords. The lengthening of the word “raise”, etc., is simply a good example text-setting, which I certainly hope isn’t the exclusive domain of pop music. Nor would I think that “lush harmonies” belong exclusively to pop music.

You continue to analyze the melodies as containing jazz 9ths and 6ths, except that they are not harmonic tones – they are accented dissonances which resolve, whereas jazz harmonies do not need to solve because they are an integral part of the harmony. If these were jazz harmonies, I would expect to see jazz progressions and a much more extensive use of 7th chords. Instead, the harmonic progression of the refrain is an entirely bland and predictable progression that one could just as easily find in the common practice period.

The problem with a blanket characterization of a piece as using a “pop style” is that pop itself has heavily borrowed from many other styles. It is therefore important to demonstrate causation and not mere correlation.

This member of the committee does not agree with your finding, at least not on the basis of the evidence your presented.

 

[snowlake]

I’m not a music theory major, but I did take 6 semesters of theory during my undergraduate studies and, God permitting, I would like to study it at a graduate level sometime.

I also like the song, but I only use it at funerals (it is requested frequently) and when Ps 91 is featured in the liturgy for the day.

First of all, your strongest argument for the pop style is the existence of dissonances on strong beats which subsequently resolve. However, this in itself does not mean pop or jazz influence, since this is a well known phenomenon ever since the advent of polyphonic music. Depending on the context, you might have, for example an appoggiatura or suspension. See Palestrina, Bach or Beethoven for examples.

Major 7ths can likewise be found long before jazz. See this excerpt from Bach for a tonic major 7th:

en.wikipedia.org/wiki/Fileissonance_in_Bach.PNG

Domenico Scarlatti also made frequent use of an ornament known as the acciaccatura, in which a chord would be played with added dissonant tones. The consonant notes would be held for the full duration, and the dissonant tones would be released almost as soon as they were played. This produced a coloring effect without affecting the harmony.

I don’t know how I would play the Dmaj7/F# on the guitar, but on the piano, I treat the maj7 as a non-harmonic tone and I am careful to keep it from sounding like an integral part of the chord (similar to the idea behind the acciaccatura). Otherwise, the chord will end up sounding more like an F#m.

In terms of syncopation, this is not a heavily syncopated piece. There is only one motive that is syncopated, so I think it is a stretch to call it jazz syncopation. Again, syncopation existed long before jazz.

Regarding the “modulation”, in my opinion it doesn’t reallly modulate, since it never cadences in a new key. I would regard it instead as briefly borrowing from the parallel minor. That is, however, a matter of opinion. I would not at all consider it to be a modulation to F major, due to the lack of any cadence or dominant.

I’m not sure why you stated that the refrain starts with a tonic major 7th, since the refrain doesn’t contain any major 7th chords. The lengthening of the word “raise”, etc., is simply a good example text-setting, which I certainly hope isn’t the exclusive domain of pop music. Nor would I think that “lush harmonies” belong exclusively to pop music.

You continue to analyze the melodies as containing jazz 9ths and 6ths, except that they are not harmonic tones – they are accented dissonances which resolve, whereas jazz harmonies do not need to solve because they are an integral part of the harmony. If these were jazz harmonies, I would expect to see jazz progressions and a much more extensive use of 7th chords. Instead, the harmonic progression of the refrain is an entirely bland and predictable progression that one could just as easily find in the common practice period.

The problem with a blanket characterization of a piece as using a “pop style” is that pop itself has heavily borrowed from many other styles. It is therefore important to demonstrate causation and not mere correlation.

This member of the committee does not agree with your finding, at least not on the basis of the evidence your presented.