But I still dislike Latin and chant. It means nothing to me. It is gibberish to me. I’m sorry if some of you find this honest comment offensive, but it’s my point of view, the way I feel. I wasn’t raised Catholic, so unlike many of you, I have no fond memories of Latin and chant in the context of the Church or Christianity. I do not associate Latin or chant with “church” or “God.” I don’t find them “reverent” or even “religious.”
I can understand your position, but I think it might be important to remember that Latin and chant are not about the EF of the Mass, they are about the Mass, period. Chant is the only form of Church music which was not developed out of the mind of some composer. Rather, it developed out of the prayer life of the Church, in the praying of the psalms in early monasticsm and the cathedral version of the Divine Office.
I once thought and felt as you did. I also used to think that this was merely an issue of personal preference, rather than something that the Church has spoken on. Then I took some time to read what the Church has taught about both Latin, and Chant. Over time, I have come to understand, and even appreciate these teachings.
If you are interested, here are some pertinent once regarding chant that may be worth your time. All are cited so that you can track down the original document should you desire:
*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 (Pius X: Tra le sollecitudini).
In order that the faithful may more actively participate in divine worship, let them be made once more to sing the Gregorian Chant, so far as it belongs to them to take part in it (Pius XI: Divini cultus, 1928).
The Church acknowledges Gregorian Chant as especially suited to the Roman Liturgy. Therefore, other things being equal, it should be given pride of place in liturgical services (Sacrosanctum Concilium).
The main place should be given, all things being equal, to Gregorian chant, as being proper to the Roman Liturgy (General Instruction of the Roman Missal)
With regard to compositions of liturgical music, I make my own the “general rule” that St Pius X formulated in these words: “The more closely a composition for church approaches in its movement, inspiration and savor the Gregorian melodic 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”. It is not, of course, a question of imitating Gregorian chant but rather of ensuring that new compositions are imbued with the same spirit that inspired and little by little came to shape it (Blessed John Paul II: Chirograph for the Centenary of Tra le sollecitudini).
While respecting various styles and different and highly praiseworthy traditions, I desire, in accordance with the request advanced by the Synod Fathers, that Gregorian chant be suitably esteemed and employed as the chant proper to the Roman liturgy (Benedict XVI: Sacramentum caritatis).
A liturgy devoid of the modulation of Gregorian chant, which is born in the most intimate fibers of the heart and in which faith is enthroned and charity burns, would be like a blown-out candle which henceforth could neither shine nor attract the gaze and thoughts of men (Pope Paul VI, Sacrificium laudis).
Would you therefore, in collaboration with the competent diocesan and national agencies for the liturgy, sacred music and catechetics, decide on the best ways of teaching the faithful the Latin chants of Jubilate Deo and of having them sing them…. You will thus be performing a new service for the Church in the domain of liturgical renewal” (Pope Paul VI, Voluntati Obsequens).
…make it easier for Christians to achieve unity and spiritual harmony with their brothers and with the living tradition of the past. Hence it is that those who are trying to improve the quality of congregational singing cannot refuse Gregorian chant the place which is due to it (Letter to the Bishops on the Minimum Repertoire of Plain Chant. Voluntati Obsequens: Sacred Congregation for Divine Worship, 1974).
Would you therefore, in collaboration with the competent diocesan and national agencies for the liturgy, sacred music and catechetics, decide on the best ways of teaching the faithful the Latin chants of Jubilate Deo and of having them sing them…. You will thus be performing a new service for the Church in the domain of liturgical renewal (Letter to the Bishops on the Minimum Repertoire of Plain Chant. Voluntati Obsequens: Sacred Congregation for Divine Worship, 1974).
In order to preserve the heritage of sacred music and genuinely promote the new forms of sacred singing, “great importance is to be attached to the teaching and practice of music in seminaries, in the novitiates and houses of study of religious of both sexes, and also in other Catholic institutes and schools,” especially in those higher institutes intended specially for this. Above all, the study and practice of Gregorian chant is to be promoted, because, with its special characteristics, it is a basis of great importance for the development of sacred music (Musicam Sacram).
The Entrance and Communion chants with their psalm verses serve to accompany the two most important processions of the Mass: the entrance procession, by which the Mass begins, and the Communion procession, by which the faithful approach the altar to receive Holy Communion (Sing to the Lord: Music in Divine Worship, USCCB, 2007).*