Old vs New Music?
One stereotype in thinking is that the younger generation of Catholics tend to prefer more contemporary and modern music, while older generations would rather have the more traditional and old music. From my experience, this is not the case; at least, not everywhere. Father Jan Michael Joncas writes, "Age by itself does not seem to determine one’s ability to appreciate a particular musical style: senior citizens may enjoy a Beatles tune while twenty-somethings may powerfully respond to chant" (From Sacred Song to Ritual Music, 1997). Here at St. Thérèse, and maybe in some parishes across our diocese and country, we have seen a huge shift. Younger Catholics are going back to more traditional and solemn forms of worship with old hymns and chants. Many I have spoken with see how noisy the world has become, and are looking for something that takes them away from the everyday common place to something sacred, mysterious and beautiful. Ironically, in my experience also, the older Catholics crave the more contemporary and modern day gospel songs. I must say that most of the complaints I have received against old music are from parishioners around ages 50 and above. This is a major challenge because this demographic constitutes a huge percentage of our parishioners. While we want to encourage our young to attend Mass and participate, we also do not at the same time want to make our older parishioners feel left out or not ministered to. The dilemma is then how to proceed.
I think both old and new music have a place in our liturgy, as they serve some functions. The old connects us to what came before, just as the new links us to a desired future. The old speak of the experiences and faith of our forebears, just as the new tell of the faith and understanding of the people of today and of tomorrow. I do not personally think we should reject a hymn simply because it is old. Musicam Sacram, a 1967 instruction issued by the Sacred Congregation for Divine Worship provides some guidelines and norms on music in the liturgy. According to this document, worship music has an eschatological function. Although this eschatological function of music mirrors the heavenly liturgy as done by its earthly participants, there is also a sense in which the use of music in worship from other eras connects us with those who have gone before us in faith, and now celebrating celestial worship. As such, an exclusive diet of contemporary worship music would defeat this eschatological function (see From Sacred Song to Ritual Music, pp 41-2).
Music is not more sacred or fitting for the liturgy simply because it is old. The same is true for more contemporary music. We do not evaluate the fitness of a piece of music by its age. Whether written in the 1500s or in the 2000s, liturgical music is judged by the soundness of its theology, conformity with Catholic doctrine, its fidelity to Scripture and the liturgical texts. Whereas some music might be appealing to the ears and well-written, care must be taken that they do not celebrate heterodoxy, or teach something that is foreign to the Christian faith. It is the responsibility of liturgical musicians and pastors to evaluate the fitness of any and every piece of music for the liturgy.
It could be true to say that some old songs might have been more appropriate for the times they were composed than for today. It is wise to know when to retire such songs as relics of the past. This is not to suggest that we could no longer praise God using those songs, but they might present a theological opinion/view that has since been advanced. We appreciate the expertise of their composers, but we must move on from them. In the same vein, there might be pieces of contemporary music that are best suited for extra liturgical celebrations, but not for the Mass. Parishioners should trust that our musician and pastor are working to ensure that only what is most fitting for God is allowed in our liturgy.
I have had some parishioners ask about hymns that are addressed to God vs hymns that are addressed to the assembly. Some parishioners have reservations for music that has the people sing in the first person singular as though they were speaking for God. This concern comes from a spirituality that respects the transcendence of God, and as such sees this as irreverent. I respect those with this view. However, God, who dwells in unapproachable light has condescended to us in the person of Jesus Christ, thereby making himself accessible. The transcendent God is also the immanent God (the Immanuel, God with us). The liturgical laws are silent on this question. But I will say that, although the liturgy is a prayer to God, it also affords us the opportunity to listen to God speak to us. In the liturgy we praise God and are formed by the words we hear, the songs we sing and the actions we perform. There seems to be a place for either of these styles of musical compositions in our liturgy. Because Sacred Scripture is the inspired Word of God, music that draws its words directly from scripture should enjoy pride of place in the liturgy. This could be prayers addressed to God or admonitions coming directly from God.
Having considered the above, the conclusion is: the age of a piece of music is not what makes it sacred and fit for use in the liturgy. A guiding principle would be whether the music is musically good, liturgically appropriate, and pastorally sound. I will speak further on these criteria in subsequent letters.
Blessings,