A Pre-Lenten Preparation for Priests and a Request for Prayers from the Faithful

Priests need to prepare for Lent too. The Book of the Prophet Malachi provides a kind of mini-examen for them.

As we consider the sins of the priests enumerated below, please understand that neither the biblical text nor my commentary should be construed as meaning that all or even most priests are like this. Sadly, though, sins and shortcomings are far too common among the clergy. As priests must strive to be better and more holy, so must the laity remember to pray for us.

With that in mind let’s consider the sins of the priests (as described by Malachi) in three basic areas.

Shoddy Sacraments

A son honors his father, and a servant his master. If then I am a father, where is my honor? And if I am a master, where is my fear? So says the Lord of hosts to you, O priests, who despise my name. You say, “How have we despised thy name?” By offering polluted food upon my altar. And you say, “How have we polluted it?” By thinking that the Lord’s table may be despised. When you offer blind animals in sacrifice, is that no evil? And when you offer those that are lame or sick, is that no evil? Present that to your governor; will he be pleased with you or show you favor? says the Lord of hosts. And now entreat the favor of God, that he may be gracious to us. With such a gift from your hand, will he show favor to any of you? says the Lord of hosts. Oh, that there were one among you who would shut the doors, that you might not kindle fire upon my altar in vain! I have no pleasure in you, says the Lord of hosts, and I will not accept an offering from your hand. For from the rising of the sun to its setting my name is great among the nations, and in every place incense is offered to my name, and a pure offering; for my name is great among the nations, says the Lord of hosts. But you profane it when you say that the Lord’s table is polluted, and the food for it may be despised (Malachi 1:6-12).

Those are strong words indeed. While the injunction regarding blemished and polluted animals has changed, the intrinsic problem remains: careless celebration of the Liturgy and the sacraments.

One of the most common complaints from the faithful regards priests who violate liturgical norms and/or allow others to do so. Few things offend charity and unity as much as the open, sometimes egregious violation of liturgical norms. Although some violations are minor, why not just celebrate the Liturgy as it is set forth in the books? There are of course options, and not every complaint of the faithful is accurate or fair, but God’s people have endured several decades of exotic and often egocentric liturgical experiments, which are not approved and which take the focus off God and the proper worship due Him.

A priest cannot be expected to clear up every problem in the Liturgy the day he walks through the door, but proper liturgical formation of the faithful with due regard to charity and patience is one of his essential tasks as pastor of souls—and he should begin with himself. The liturgy, both its mechanics and its spiritual significance, should be his study and his great love.

Another problem that can emerge is inattentiveness to the dignity and beauty of the Mass and the sacraments. Proper attire and decorum are important ways that we communicate our love for God and one another. Priests should be properly vested, prepare their sermons prayerfully, and avoid mannerisms that are inappropriate or overly casual. Opulence is not necessary, but priests should ensure that liturgical appointments are clean, in good repair, and of proper dignity.

Decades ago, poor immigrant communities sponsored the construction of some of the most beautiful churches. They also supplied some of the finest art and liturgical implement. It is important that we keep what they have bequeathed to us in good repair. Further, priests can and should teach the faithful to follow the example of these recent ancestors of ours by seeking to build and maintain worthy churches, erected for the glory of God and not just the utility of man. In the recent past, many of the faithful have been shocked and hurt by the senseless “wreckovation” of sanctuaries and altars. Thanks be to God, many people today are growing in their appreciation of older churches and are seeking to preserve them.

If God was offended by the offering of a lame or sick animal, why should we think He is pleased with just “any old stuff” in the Sacred Liturgy? God does not need our gold chalices or our tall churches, but He knows that the shoddy, perfunctory, “anything goes” celebration of the Sacred Liturgy says something about our hearts, our priorities, and what we value.

Priests must avoid all conscious violation of liturgical norms, make central the devoted study of liturgy, and inspire respect among the faithful for the Sacred Liturgy. St. Paul summarizes well his liturgical teaching of 1 Cor 11-14 by concluding with this: But all things should be done decently and in good order (1 Cor 14:40).

Burdens not Blessings? Behold your Barrenness!

“What a weariness this is!” you say, and you sniff at me, says the Lord of hosts … And now, O priests, this command is for you. If you will not listen, if you will not lay it to heart to give glory to my name, says the Lord of hosts, then I will send the curse upon you and I will curse your blessings; indeed, I have already cursed them, because you do not lay it to heart. Behold, I will rebuke your offspring, and spread dung upon your faces, the dung of your offerings, and I will put you out of my presence. So shall you know that I have sent this command to you, that my covenant with Levi may hold, says the Lord of hosts. My covenant with him was a covenant of life and peace, and I gave them to him, that he might fear; and he feared me, he stood in awe of my name (Malachi 1:13, 2:1-5).

The priests of that ancient time had families, and God warned that if the fathers did not obey, their children would suffer many curses. While priests today do not have children of their own, many call us “Father”!

In our day, the sins and omissions of priests surely have brought trouble upon the faithful. We have been through a period in which too many priests have been rebellious, unfaithful to Church teaching, slothful, unprepared to preach, un-prayerful, and irreverent. Some have even been guilty of grave sins and violations of their state in life. In addition, far too many priests and religious have left the sacred call they agreed to live for life.

All of this has resulted in many troubles for the faithful. Some are discouraged and angry; most are poorly catechized and ill-informed on critical moral issues. Many are confused by priests and bishops who have openly dissented, who do not listen to God or lay to heart His teaching and stand in awe of His name.

In this way, the flock is often harmed by this poor priestly leadership and example. Eighty percent of Catholics no longer attend Mass. Many of those who do attend are barely in communion with the Church’s teaching and struggle to live the glorious vision set forth in the Gospel.

Sadly, this text from Malachi echoes a similar one from Zechariah: Strike the shepherd, and the sheep will be scattered (Zech 13:7). This is why the sins of priests are so serious and why the faithful must pray for them fervently. Not only are priests subject to targeted attack by Satan, they are also especially susceptible to grandiosity, pride, and the sin of craving human respect.

Pray that priests do not become weary of exhortation or speak of their office as a burden. Pray, too, that they do not succumb to modern notions that the Gospel is too burdensome for the faithful and therefore fail to preach it or to encourage the faithful to live it.

Sacerdotal Silence

True instruction was in [Levi’s] mouth, and no wrong was found on his lips. He walked with me in peace and uprightness, and he turned many from iniquity. For the lips of a priest should guard knowledge, and men should seek instruction from his mouth, for he is the messenger of the Lord of hosts. But you have turned aside from the way; you have caused many to stumble by your instruction; you have corrupted the covenant of Levi, says the Lord of hosts, and so I make you despised and abased before all the people, inasmuch as you have not kept my ways but have shown partiality in your instruction (Malachi 2:6-9).

Silent pulpits are all too commonplace in the Church today. Some priests prefer to “play it safe,” fearing to preach about the issues of the day out of human weakness. Others do not believe certain teachings themselves or think them impractical in modern times. Still others have turned aside from the truth, preaching and teaching outright dissent; by preaching corruption they cause many to stumble.

It is tragic as well that so many priests are permitted to mislead the faithful without being disciplined for it by their religious superiors.

The text says that a priest should guard knowledge. That is, he should protect it from those who would distort it; he should refute error. He must also guard it from misunderstanding and see that it is presented in balance with other truths in Scripture and Tradition. St. Paul says this of a presbyter: He must hold firmly to the trustworthy message as it has been taught, so that he can encourage others by sound doctrine and refute those who oppose it (Titus 1:9).

The text of Malachi also warns against partiality, wherein a priest chooses which truths he will teach or emphasize and which he will not. St. Paul said to the elders at Miletus, Therefore I testify to you this day that I am innocent of the blood of all, for I did not shrink from declaring to you the whole counsel of God (Acts 20:26-27). Yes, the whole counsel, the complete truth, is to be taught by the priest.

Some of these rebukes concerning partiality must still be made today. Encourage your priests when they speak confidently and clearly. Thank them; give them support even if they challenge you. The job of a priest is not to be popular but to be a prophet. It’s tough work and it isn’t always welcomed. Even the prophets needed support from the 7000 who had still not bent the knee to Baal or kissed him (cf 1 Kings 19:18). Pray for priests and encourage them to announce the whole counsel of God.

These are some of the sins of priests that God sets forth, but let us not forget that the world has many hard-working, dedicated, loyal, and holy priests. Yet, as these passages remind us, priests can lose their way. They can forget the glory of the liturgies they celebrate, refer to their office and the gospel as burdensome, and grow silent out of fear or laziness.

Pray for priests!

A Sobering Reminder on the Liturgy from the Book of Leviticus

There is a sobering passage in the Book of Leviticus that speaks to the need for priests to be faithful to the prescribed liturgical norms. While the offense described in this passage is complex, the main point is clear enough: The liturgy is revealed by God and is not the personal plaything of the priest or the congregation. Although some of the liturgical edicts of the Old Covenant have been fulfilled and are therefore no longer binding, only the Church, in careful discernment, can set liturgical norms; God’s priests and people must not stray from them.

Let’s take a look at the text consider its sobering reminder:

Now Nadab and Abihu, the sons of Aaron, each took his censer and put fire in it and laid incense on it and offered strange fire before the Lord, which he had not commanded them. And fire came out from before the Lord and consumed them, and they died before the Lord. Then Moses said to Aaron, “This is what the Lord has said: ‘Among those who are near me I will be sanctified, and before all the people I will be glorified.’” (Leviticus 10:1-3).

Wow, two priests struck dead by God for a liturgical violation! The severity of this moment ought to make us more cautious about brushing off liturgical abuses as “no big deal.” And while not all liturgical errors are equally serious, intentionally dispensing with sacred norms is highly displeasing to God.

The sin of Nadab and Abihu is complex and the nature of their offense is somewhat debated. A common explanation sets forth the following problems with what they did:

  1. Although the wording is not completely clear, it is likely that Nadab and Abihu each took “his” own censer rather than the sacred thurible of the sanctuary. However, it is also possible that the “his” referred to Aaron, and that Nadab and Abihu each took Aaron’s censer (see # 3 below).
  2. They seem to have offered it together, whereas the incense was generally offered by only one priest at a time.
  3. They intruded upon the functions of the high priest, who alone burnt incense in a censer (see Leviticus 16:12-13; Numbers 17:11). (Although ordinary priests sometimes burnt incense, it was only on the golden altar in the holy place (Exodus 30:7-8) or on the brazen altar as a part of the memorial (See Leviticus 2:2-3; Leviticus 2:16).)
  4. They offered the incense at an unauthorized time (apart from the morning and evening sacrifice).
  5. They offered “strange fire,” meaning that they filled their vessels with common fire instead of taking it from the holy fire of the altar, which was always to be used in burning incense. (Others think that the phrase “strange fire” denotes fire not offered according to the prescribed law (see Leviticus 9:24; Leviticus 16:12).)
  6. Later on in Leviticus, the text indicates that Nadab and Abihu had partaken too much of the drink offering and were likely intoxicated (see Leviticus 10:9).

The above enumeration may seem like “inside baseball” and the technicalities described arcane, but we should be most concerned about the last line of the Scripture passage: Then Moses said to Aaron, “This is what the Lord has said: ‘Among those who are near me I will be sanctified, and before all the people I will be glorified.’”

In other words, the purpose of the liturgy is not to glorify man. It is not to entertain. It is not to serve as an occasion for priests to boast or to engage in unauthorized and egocentric displays. The purpose of the liturgy is that God be glorified and known as holy.

Sadly, many people today see the liturgy as a stage upon which man is to be exalted and entertained. Much time is devoted to announcements, self-referential hymns, self-congratulatory outbursts. Liturgical norms are often set aside in service of human preference or the ego of a priest who thinks his own words and gestures far outshine what the “institutional” Church and sacred tradition have directed. Speed, convenience, and comfort seem to far outweigh any notion that the liturgy involves offering a sacrifice to God in gratitude and obedience.

This does not mean that the sacred liturgy has to be unreasonably severe, slavishly robotic, or wholly unconcerned with the good of God’s people. Charity and prudence both require that the liturgy also manifest God’s mercy, goodness, and truth in ways that are intelligible and helpful to God’s people. In general, though, the balance has tipped so far away from glorifying God that we must constantly reminded ourselves that God is the point, not us. When He is the point we are blessed, for we look beyond our often petty and vain pursuits and come to find our true selves in God.

This passage from Leviticus should remind us that misconstruing the sacred liturgy is displeasing to God—not because He has a big ego, but because such abuse harms us. We were made to glorify God and find true happiness in so doing. Liturgical abuse in service of anthropocentric interests makes our liturgies small-minded and insular. Ultimately it is we who are deprived of our truer and greater joy, which is God Himself.

The Biblical Roots of the Assumption of Mary

While the actual event of the Assumption of Mary into Heaven is not recorded in the Scriptures, there is a biblical basis for the teaching that, considered as a whole, confirms Catholic teaching as both fitting and in keeping with biblical principles. Let’s ponder this feast in stages:

The Assumption Explained To be “assumed” means to be taken up by God bodily into Heaven. As far back as the Church can remember we have celebrated the fact that Mary was taken up into Heaven. We do not just acknowledge that her soul was taken to Heaven, as is the case with the rest of the faithful who are taken there (likely after purgation); rather, Mary was taken up, soul and body, after her sojourn on this earth was complete. There is no earthly tomb containing her body, neither are there relics of her body to be found among the Christian faithful. This is our ancient memory and what we celebrate today, Mary was taken up, body and soul, into Heaven.

The Assumption Exemplified – While Mary’s Assumption is not described in Scripture, several other “assumptions” are; thus the concept itself has a biblical basis. The actual event of the Assumption is not described in Scripture. However, there are “assumptions” recorded in the Scriptures and thus the concept is biblical.

EnochEnoch walked with God; then he was no more, because God took him away (Gen. 5:24). By faith Enoch was taken up so that he should not see death; and he was not found, because God had taken him. Now before he was taken he was attested as having pleased God (Hebrews 11:5).

ElijahAnd as they still went on and talked, behold, a chariot of fire and horses of fire separated the two of them. And Elijah went up by a whirlwind into heaven … And he was seen no more (2 Kings 2:11).

Moses – Some say that because the location of Moses’ grave is not known, he too was taken up into Heaven. We read in Monday’s first reading at daily Mass: He was buried in Moab, in the valley opposite Beth Peor, but to this day no one knows where his grave is (Dt. 34:6). The text of course does not say that his body was taken up, and if it was, it occurred after death and burial. The Book of Jude hints at this: But even the archangel Michael, when he was disputing with the devil about the body of Moses … (Jude 1:9). Some further credibility is lent to the view of Moses being assumed by the fact that he appears with Elijah in the account of the Transfiguration. Some of the Church Fathers also held this opinion. Further, there is a Jewish work from the 6th century A.D. entitled The Assumption of Moses. In the end, though, the assumption of Moses is not officially held by the Church.

The Assumption Evidenced (John Sees Mary in Heaven) There is one other scriptural account that may provide evidence of Mary’s whereabouts. Today’s second reading, a passage from the Book of Revelation, features John’s description of his sighting of the ark of God:

Then God’s temple in heaven was opened, and within his temple was seen the ark of his covenant. And there came flashes of lightning, rumblings, peals of thunder, an earthquake and a great hailstorm. A great and wondrous sign appeared in heaven: a woman clothed with the sun, with the moon under her feet and a crown of twelve stars on her head. She was pregnant and cried out in pain as she was about to give birth. Then another sign appeared in heaven: an enormous red dragon with seven heads and ten horns and seven crowns on his heads …. The dragon stood in front of the woman who was about to give birth, so that he might devour her child the moment it was born. She gave birth to a son, a male child, who will rule all the nations with an iron scepter (Rev 11:19 – 12:5).

The woman in the passage is clearly Mary, since the child is obviously Jesus (although she also likely represents Israel and Mother Zion). And where is Mary seen? In Heaven. Some argue that this does not necessarily indicate that her body is in Heaven; they say that it might be referring only to her soul. However, the physical description of her seems rather strong to support such a view.

Others believe that because John mentions the ark and then continues on to describe Mary (the woman clothed with the son), that he is in fact still describing the ark. (I have written on this elsewhere: Mary: The Ark of the New Covenant.) If Mary is the ark described, then she is clearly in Heaven.

So, the Bible, while not specifically recording Mary’s Assumption, does present other assumptions, thus showing it to be a biblical concept. Further, Mary’s physical presence in Heaven seems at least hinted at, if not directly described, in the Book of Revelation.

The Church does not rely solely on Scripture. In this case, what we celebrate is most fundamentally taught to us by Sacred Tradition; the memory of Mary’s Assumption goes back as far as we can remember.

The Assumption Extended to Us The Feast of the Assumption is of theological interest and provides matter for biblical reflection, but eventually these questions are bound to arise: So what? How does what happened to Mary affect my life? What does it mean for me? The answers are bound up in nearly every Marian doctrine. Simply put, what happened to Mary will also happen to us in the end. As Mary bore Christ into the world, we bear Him in the Holy Communion we receive and in the witness of His indwelling presence in our life. As Mary is (and always was) sinless (immaculate), so too will we one day be sinless with God in Heaven. As Mary cared for Christ in His need, so do we care for Him in the poor, suffering, needy, and afflicted. Finally, as Mary was assumed, body and soul, into Heaven, so too will we be there one day, body and soul.

After our death and subsequent purification, our soul goes to Heaven; our body, though, lies in an earthly tomb. But one day, when the trumpet shall sound, our body will rise and be joined to our soul.

For we will all be changed—in a flash, in the twinkling of an eye, at the last trumpet. For the trumpet will sound, the dead will be raised imperishable, and we will be changed. For the perishable must clothe itself with the imperishable, and the mortal with immortality. When the perishable has been clothed with the imperishable, and the mortal with immortality, then the saying that is written will come true: “Death has been swallowed up in victory. Where, O death, is your victory? Where, O death, is your sting?” … Thanks be to God. He gives us the victory through our Lord Jesus Christ (1 Cor 15:51-57).

So our bodies shall rise; they shall be assumed and joined to our soul.

Improved model! An older woman once said to me, upon hearing that her body would rise, “Father if this old body has to rise, I’m hoping for an improved model!” Yes, indeed; me too! I want a full head of hair, a slim build, and knees that work! I want an upgrade from this old, general issue model to a luxury edition. In fact, God will do that. Scripture says,

  • He will take these lowly bodies of ours and transform them to be like his own glorified body (Phil 3:21).
  • But someone may ask, “How are the dead raised? With what kind of body will they come?” How foolish! What you sow does not come to life unless it dies. When you sow, you do not plant the body that will be, but just a seed, perhaps of wheat or of something else. But God gives it a body as he has determined, and to each kind of seed he gives its own body …. So will it be with the resurrection of the dead. The body that is sown is perishable, it is raised imperishable; it is sown in dishonor, it is raised in glory; it is sown in weakness, it is raised in power …. And just as we have borne the likeness of the earthly man, so shall we bear the likeness of the man from heaven (1 Cor 15:35-49).
  • I know that my Redeemer lives, and that in the end he will stand upon the earth. And after my skin has been destroyed, yet in my flesh I will see God; I myself will see him with my own eyes—I, and not another’s (Job 19:25-27).

The assumption of our bodies, prefigured by Christ in His own power and also in Mary by the gift of God, will one day be our gift too.

The following song is an African-American spiritual and describes that “great gettin’ up morning” when our bodies will rise. If we have been faithful, our bodies will rise to glory!

I’m gonna tell you about the coming of the judgement (Fare you well) There’s a better day a coming …. In that great gettin’ up morning fare you well! Oh preacher fold your Bible, For the last soul’s converted …. Blow your trumpet Gabriel …. Lord, how loud shall I blow it? Blow it right calm and easy Do not alarm all my people …. Tell them to come to the judgement …. In that great gettin’ up morning fare you well. Do you see them coffins bursting? Do you see them folks is rising? Do you see the world on fire? Do you see the stars a falling? Do you see that smoke and lightning? Do you hear the rumbling thunder? Oh Fare you well poor sinner. In that great gettin’ up morning fare you well.

How the Liturgy is Healing Medicine for Strident Times

One of the most concise and cogent descriptions of these often strident times came from Joseph Cardinal Ratzinger in 1986. It is contained in, of all places, his treatise on the theology of sacred music in a book called The Feast of Faith (Ignatius Press, 1986). His comments have been republished in a larger compendium of his works, Collected Works: Theology of the Liturgy (Ignatius Press, 2014, Vol 11).

It is hard to describe our times as anything but contentious. Loud, strident protests often predominate over reasoned discourse and thoughtful argumentation.

To be sure, every era has had, and has needed, protest and public opposition to injustice. There is a time and a place for loud protest and the use of memorable sound bites.

However, it is the predominance of loud protest and civil disobedience that stands out today. Sound bites, slogans, and simplistic “war cries” have to a large extent replaced thoughtful, reasoned discourse. Volume, power, and visually flashy techniques are prized; they are being used more and more. Such approaches too frequently produce more heat than light.

Consider, then, this remarkable analysis by Joseph Cardinal Ratzinger, written back before the Internet and social media had turned up the volume even more. Ratzinger paraphrased an insight of Gandhi’s, applied it to his analysis of our current times, and then proposed a healing remedy to restore balance:

I would like to note a beautiful saying of Mahatma Gandhi … Gandhi refers to the three habitats of the cosmos and how each of these provides its own mode of being. The fish live in the sea, and they are silent. The animals of the earth scream and shout; but the birds, whose habitat is the heavens, sing. Silence is proper to the sea, shouting to the earth and singing to the heavens. Man has a share in all three of them. He carries the depths of the sea, the burden of the earth, and the heights of the heavens in himself. And for this reason, all three properties also belong to him: silence, shouting, and singing.

Today – I would like to add – we see only the shouting is left for the man without transcendence, since he only wants to be of the earth.

The right liturgy, the liturgy of the Communion of the Saints, restores totality to him. It teaches him silence and singing again by opening him to the depths of the sea and teaching him to fly, the angels’ mode of being. It brings the song buried in him to sound once more by lifting up his heart. . . .

Right liturgy … liberates us from ordinary, everyday activity and returns to us once more the depths and the heights, silence and song … Right liturgy … sings with the angels … is silent with the expectant depths of the universe, and that is how it redeems the earth (Joseph Cardinal Ratzinger, Collected Works, Vol 11, Theology of the Liturgy, Ignatius Press, p. 460).

This is a remarkable analysis and an insightful application of liturgy and cosmology to the issues and imbalances of our day! It is in the vein of “Save the liturgy, save the world.” For indeed, only in the worship of God do we find our true selves. Only in the liturgy is our true personality formed. The human person in his glory unites the material and spiritual orders. We are capable of pregnant, expectant silence; of the joyful shout of praise and the Gospel going forth; and of the song of Heaven.

As Ratzinger pointed out, though, we too often are preoccupied with and value only one aspect: the shouting of the earthbound creatures of this world. But the liturgy – good and proper liturgy – trains us in all three and accomplishes the balance that is so often lost today. The liturgy is a training ground, not only for our heavenly destination, but also in what it means to be truly human.

Read and carefully consider Cardinal Ratzinger’s reflection. It will bless your soul; I know it has blessed mine.

Here is a song of the heavens:

What is Sacred Music? The History Is More Complex Than You Might Think

sacred music

sacred musicNote to readers: The following article is long (3500 words). This is because I have been adding to it over the years as my research has continued. I am by avocation a church musician. Before my ordination, I was a Choir director and an organist. Like most of you, I have my preferences in the area of Church music, but we must be careful not merely to dogmatize them. If we are going to talk intelligently about Church music, knowledge of history is important. It would certainly be incorrect to think that the debates about music in the liturgy began in 1965. In fact, such debates go back to the very beginning of the Church. In order to provide some historical perspective (and a context for the reflection on what is and is not appropriate music) I have been writing and expanding upon this essay for several years. Since it is long, I want to provide a PDF, which you may find here, so that you can print the article out and read it at your leisure.  If you do not have the time or the interest to read this full article, you can get the gist of it in the summation at the end.

With the exception of chant, almost every form of music that is today regarded as sacred initially had a stormy reception in the Church before being admitted to the ranks of music commonly called “sacred.”

That music is controversial in the Church is nothing new, as we shall see in this modest survey of the history of music in Catholic liturgy. Some of my sources are listed at the end of this post, but it is really the product of many years of reading and studying.

On some level, I hope to provide some perspective on the claim that is often made today that certain modern forms of music are inadmissible because they are not “sacred.” In no way do I intend to approve of all forms of modern music nor to encourage the admission of all of them into the liturgy, but it is worth appreciating that the definition of “sacred music” has changed over time. New forms have been admitted— sometimes reluctantly—to the exalted class we refer to as “sacred music.”

Here, then, is a brief look at the history of Church music in terms of what has been considered sacred and what has not.

I.   The early, pre-Constantine period: Chant reigns supremeWhile little if any music survives in written form from the earliest days of the Church, it seems clear (as Johannes Quasten records) that the leaders of the early Church (the Fathers and bishops) preferred monophonic music. This seems largely due to the association of harmony with the excesses of the pagan world and pagan worship.

Frankly, there was in the early Church a very persistent theme that music itself was problematic. Many ancient bishops and Fathers of the Church barely tolerated it, sought to limit its influence, and/or were deeply suspicious of any singing at all.

In his essay “On the Theological Basis of Church Music,” Cardinal Ratzinger (drawing from sources such as Pope Gregory the Great, St. Jerome, Gratian, and even as recent as St. Thomas Aquinas) describes the rather negative opinion in the early Church of any music involving instruments, harmony, or anything deemed “theatrical.” He writes,

Instrumental music, understood as a Judaizing element, simply disappeared from the early liturgy without any discussion; the instrumental music of the Jewish temple is dismissed as a mere concession to the hardness of heart and sensuality of the people at that time. What the Old Testament said about music and worship could no longer be applied directly; it had to be read by them allegorically; it had to be spiritualized

(Ratzinger, “On the Theological Basis of Church Music,” quoted from Collected Works Vol XI, pp 425-432).

Summarizing the views he had received from the earlier Church, St. Thomas wrote, “In the praise of God, the Church does not employ musical instruments … lest she appear to be falling back into Jewish ways” (Summa Theologica II, IIae, q. 91 a 2 ad 3).

Cardinal Ratzinger continues,

Analyzing the texts, not infrequent in the Fathers, which are critical of music or even openly hostile to it, one can clearly identify two constant and governing factors:

A.  In the first place there is the one-sidedly “spiritual” understanding of the relationship between the Old and New Testaments … [So] Christian liturgy … took on a more or less Puritan form. … The idea that God can only really be praised in the heart means that no status can be accorded to music … In Christian worship … music must be relegated to a secondary level. Augustine is a splendid example of this. His sensitivity to music causes him much torment because his mind is dominated by a spiritualizing theology that ascribes the senses to the Old Testament, the old world; he is afraid of “sinning grievously” when he is “moved more by the music then by the reality to which the singing refers” … and would prefer “not to hear singing at all.” Fortunately, his rigorism is dampened when he recalls the profound stirring his soul experienced when he first heard Church music in Milan. [He thus adopted a view of music later stated by St. Thomas, which held that among the reasons for Church music was that] “Thus the minds of the weak be more effectively summoned to piety.”

B.  The second group of ideas that stood in the way of a positive the valuation of Church music … is put in a nutshell in Thomas’ fundamental article on the praise of God, where he says that vocal worship is necessary, not for God’s sake, but for the sake of the worshiper (Ibid).

Cardinal Ratzinger argues in the essay that this tended to lead to a utilitarian view of Church music: necessary to some degree, but somehow less than ideal. He reflects that this created a barrier to any satisfactory theology, not only of Church music, but of all prayer whatsoever.

He also adds (in a later essay) another reason for the restrictive notions about music in the early Church:

To the extent that it distanced itself from the Semitic world, the development of Christological art songs [also] threatened more and more to turn into an acute Hellenization of Christianity … The fascination of Greek music and Greek thinking [now excluded] … so that the new music rapidly became the domain of Gnosticism … For this reason [too] the Church immediately and rigorously rejected the poetical and musical innovation and reduced Church music to the psalter … This limitation of liturgical singing which gradually began asserting itself from the second century … led to a forbiddance of private song compositions and noncanonical writings in liturgical services. The singing of the psalms also came to be restricted to the choir whereas others “should not sing in church” (See canon 59 of the Synod of Laodicea 364 AD) (Ratzinger, Ibid, p. 505).

Thus music in general, given its Semitic and pagan associations, was widely resisted in the early Church and tolerated only in limited ways. Music with any harmony was altogether excluded and would not reappear until the Late Middle Ages.

As a final sample of the Patristic skepticism of music or demonstrative worship, consider St. Cyprian, who wrote the following early in the 3rd century:

When we pray, our words should be calm, modest and disciplined. Let us reflect that we are standing before God. We should please him both by our bodily posture and the manner of our speech. It is characteristic of the vulgar to shout and make a noise, not those who are modest. On the contrary, they should employ a quiet tone in their prayer ….

When we gather to celebrate the divine mysteries with God’s priest, we should not express our prayer in unruly words; the petition that should be made to God with moderation is not to be shouted out noisily and verbosely. For God hears our heart not our voice. He sees our thoughts; he is not to be shouted at …

(Treatise on the Lord’s Prayer by Saint Cyprian, bishop and martyr (Nn. 4-6: CSEL 3, 268-270)).

So much, it would seem, for demonstrative prayer and exuberant singing.

Another reason that the early Church seems to have favored non-harmonic singing was somewhat rooted in the cosmology of the time, wherein there was an emphasis on the unity of all things. Whatever diversity was discovered was viewed as coming from the one hand of God. Monophonic music seemed to better express this unity, at least to the ancient Christian mind.

This cosmology of unity still finds its expression in the way that most Prefaces in the Mass are concluded. The Latin text speaks of the multitude of the choirs of angels, joining with the voices of the many saints (cum Angelis, et archangelis, cum Thronis, et Domininationes … et òmnibus Sanctis). Yet despite the vast multitude of voices, at the end of the Preface it says that they all sing “as with one voice, saying” (una voce dicentes), “Holy, Holy, Holy, Lord God of hosts.”

And so at the earliest stage, music was limited, and to the degree it was it was largely what we today call chant. To the ancient Church, harmony was widely considered to be secular, even pagan.

II.  The Church after Persecution: Chant developsThe earliest chants were quite simple and largely syllabic (one note per syllable); there were few elaborations. However, after the Edict of Constantine (321 A.D.) as the Church came out of a more hidden worship, the use of large, cavernous buildings started to influence the singing.

Cantors began to elaborate on the chant, making full use of the echoes in the larger, basilica-like buildings. Vocals became increasingly melismatic (multiple notes per syllable) rather than syllabic, especially during festival seasons. Syllables (such as those in the word “Alleluia”) began to be extended over more and more notes.

Singers also “yielded to the spirit,” and the long melismata became a kind of ecstatic “singing in tongues.” Though at first any elaboration was resisted, certain chants did begin to develop in some areas. As these melodies became increasingly complex, they were written down and collected by Pope St. Gregory (among others), hence the modern name, “Gregorian chant.”

As these chants became more and more elaborate, their sacredness was only gradually conceded. In fact, they became so complicated that the faithful in the congregation, who were already being discouraged from singing at all, had great difficulty joining in most of the chants. For this reason, special choirs called “scholas” were formed.

III. The High Middle Ages: Harmony entersThe next major development in Church music took place during the High Middle Ages, generally speaking in the 13th century. The first developments of harmony occurred in the musical schools in France, particularly around Paris. It was here that we saw the first widespread introduction of harmony into Church music.

Several factors influenced the introduction of harmony. First, there was the reintroduction of Greek philosophy and some of its views back into the Western world through scholasticism.

Among the Greek notions was a cosmology that spoke of the planets orbiting the sun in perfect circles, each of them ringing out a different tone and creating a beautiful celestial harmony in the heavens as they did so. This was the “music of the spheres” and the idea of a great and beautiful harmonic sound in the heavens. Thus the association of harmony with the sacred began to seem more plausible in the minds of Christians.

The first experimentation with harmony seems to have been singing the Gregorian melodies and adding a hollow harmony of a fourth or fifth. Sometimes this involved several singers singing the words in those harmonies. Other times the harmonizers simply “droned” in the background, somewhat like bagpipe drones.

Architecture was another factor that influenced the harmonies. The soaring new cathedrals with their vaulted ceilings that began to dot the landscape of Western Europe seemed to demand more soaring music. These cathedrals were the skyscrapers of their day.

As harmony began to sound more pleasing to the ears, scholars worked to study it using, of all things, the Pythagorean Theorem, to mathematically set forth the harmonic scale. Thus mathematics and music came together to quantify a kind of music theory. Gradually, as the years just prior to the 16th century ticked by, we came to have what we know of today as the 12-tone scale.

The introduction of harmony in the Church (as with most things musical) was not always without controversy. Some thought that it made the words harder to understand, a complaint that would plague polyphonic music in its early stages.

Nevertheless, as a general rule, the new harmonies from the Paris school swept through Europe to widespread acclaim. People flocked to the cathedrals to hear this splendid new music.

IV.  Late Middle Ages to Renaissance: Musical revolution and a growing crisis for polyphonyIt is hard to describe what took place in music from the late 1300s to 1500 as anything less than revolutionary. The modern harmonic scale as we now know it came into full realization. Harmony went from two-part, to three-part, and then to four and more parts, amazing listeners everywhere.

The incredible development of music during this period paralleled the remarkable developments in painting: increasing use of shadow, light, perspective, and depth. By the early 1500s, Renaissance polyphony was in all of its glory. Composers such as Isaac, Lassus, Palestrina, Victoria, Tallis, and Byrd brought this art form to an amazing richness.

But the music was not without controversy. There were two main problems with this new style called polyphony.

The first problem was the intelligibility of the text. With multiple harmonies being sung, the Latin text, often staggered across many parts and voices, became harder and harder to understand. Clergy in particular complained of this, arguing that the sacred text was taking a backseat to musical flourishes. In addition, the “theatrical showiness” seemed secular to many.

The second troubling issue was that many of the composers of the day drew from secular melodies that were often heard in taverns, in theaters, and on the streets. They would often take these recognizable melodies and set them as a cantus firmus (musical theme or foundation) of sacred compositions, including the parts of the Mass.

Heinrich Isaac, as early as the 1400s in his Missa Carminum, drew from many of these tavern songs. But perhaps the most egregious example of this, and something that almost caused polyphony to be banned completely from the Catholic Church, was a Mass composed by Orlandus de Lassus.

The Mass in question was his Missa Entre Vous Filles. The main melody of both the Kyrie and the Gloria came from a secular piece by the French composer Jacob Clemens non Papa, the words of which bordered on the pornographic. As the Mass grew widely popular (for it is a lovely melody), Church authorities discovered its source and a great uproar ensued.

This controversy took place during the years of the Council of Trent, and though some scholars are dubious of all the details, it is reported that there were Council Fathers who were serious about seeing that sacred polyphony was forever banned from the Catholic liturgy.

Among those who came to the rescue, I am happy to report, was my patron saint, Charles Borromeo. He assembled some increasingly dubious bishops and cardinals who were attending the sessions of the Council of Trent so that they could hear the Pope Marcellus Mass by Palestrina. This particular Mass seems to have been specifically composed to address some of the critiques about the intelligibility of the text and the secular origins of many melodies. The presentation calmed some of the fears regarding this new music and the crisis largely passed.

This incident demonstrates that what many today consider a very sacred sound (namely Renaissance polyphony) was actually quite controversial in its day. It was only thought of as sacred in a widespread way later on. After surviving this first crisis, polyphony became less “florid” and gave greater emphasis to the intelligibility of the text. Secular melodies were also excluded. For these reasons, later works by Palestrina are more austere than those from his earlier period.

Thus we see how the definition of what makes for sacred music had already passed through two major periods. In the first, harmonies were considered too secular; in the second, harmony was introduced but only slowly accepted as sacred in nature.

V.  The Renaissance to the Baroque: New controversies, old problemsIn the period of the middle Renaissance, a new cosmology began to replace the idea that the planets revolved around the sun in perfect circles. Astronomy started to reveal that most of the planets revolved around the sun in elliptical orbits, some of them quite elongated. The notion of the circular orbits of the planets, symbolized by the “music of the spheres” and imitated by Renaissance polyphony, began to give way to the understanding of the mathematical progression of elliptical orbits—a kind of Bach fugue in the sky. This change in cosmology helped to usher in the rather more elaborate, yet mathematical, music of the Baroque period.

In this period, we find the wonderful and mathematically precise music of Bach, Vivaldi, Handel, Mozart, Gabrieli, Schubert, Scarlatti, and many others. Perhaps the fugue best exemplifies the kind of mathematical cosmology of the time. In a fugue, mastered by Bach but not wholly unique to him, a musical theme is set forth. For example, quarter notes may announce the theme of the fugue. This theme is then repeated in the left hand and then in the feet (of the organist). It also progresses mathematically: into eighth notes, then into sixteenth and even 32nd notes. Math meets music! Other musical forms like canons emerged similarly. Symphonies also grew to have movements, which were often named for their tempo (e.g., allegro, adagio, presto).

The classical and baroque periods brought the great orchestral or “Classical” Masses, by composers such as Mozart, Schubert, and Scarlatti. Even Bach and Beethoven set the Catholic Mass in great symphonic and orchestral renderings.

Much controversy accompanied these newer forms. Once again, the principle concern was the intelligibility of the text. Another concern was the length of many of these Masses; in some, the Glorias and Credos could go on for twenty minutes or longer.

Some complained that these musical settings of the Mass made it sound more like being at the opera than at Mass. Indeed, they often broke the sacred text into movements sprinkled with soprano or tenor solos and duets, grand choral sections, and often with full symphonic accompaniment. It was quite a feast for the ears! These Masses were generally so elaborate that they could only be performed in the larger, well-endowed, city churches.

The controversy concerning these kinds of Masses continued for many years. Even as liturgical reforms began in the early 1900s, Pope Pius X frowned on their usage, referring to these orchestral Masses as “theatrical” (see Tra Le Sollecitudini # 6). This led to a de facto banishing of the form from the Catholic liturgy at that time. Only after the Second Vatican Council was this form rehabilitated in a small way.

Here, too, we see that what many Catholics today consider unquestionably sacred (e.g., a great Mozart Mass) had to survive much controversy and even a kind of banishment. What is thought of as sacred today has not always enjoyed that rarefied distinction!

VI.  The Modern Era: New musical forms, new controversies This leads us to the modern era. As we have seen, those who think that debates about what constitutes sacred music are new are simply mistaken. These disputes have been quite a constant part of Church life almost from the beginning. To place them at the feet of the Second Vatican Council is to lack historical perspective.

It is true that two documents of the Second Vatican Council (Musicam Sacram and Sacrosanctum Concilium) opened the door to newer forms with a greater freedom toward enculturation (e.g., MS # 18, 63), but they also reasserted the special accord to be given to chant (# 50a), polyphony, and the pipe organ (# 4a).

Although debate continues about newer forms of music and whether or not they are sacred, such tensions have long existed. Some newer forms have already been tried and found wanting (e.g., Polka Masses). Other forms such as “folk,” gospel, or contemporary music, with adaptions over time, have remained.

Summation:

  1. Historically, no form of music currently considered sacred achieved that status without controversy.
  2. Indeed, music itself was controversial in the early Church and was barely tolerated by many of the Church Fathers.
  3. Time ultimately proves where wisdom lies and ultimately mediates for us what is sacred in a way that transcends mere passing tastes or preferences.
  4. Music has made several revolutionary leaps during the age of the Church.
  5. Provided necessary rational limits are applied, there is no need to rush to exclude every newer form.
  6. If we were to do so, only chant would exist in the Church, and we would be deprived of a great treasury of music from the era of polyphony and the classical period.

In saying this I do not mean to indicate that all music is just fine, or that all modern forms are here to stay, or that newer forms should not be questioned; it is clear that some forms are wholly inimical to the Sacred Liturgy. Rather, I seek to remind people that what is called “sacred music” is historically quite complex. It is the result of long and vigorous discussions, refinements, and other factors as diverse as cosmology, architecture, mathematics, and culture.

We do well to let some of the conversations and controversies work themselves out, lest in too quickly ending them by judicial fiat we impoverish ourselves and block what might bless others and even our very selves.

These are just a few of my sources for the above article:

  1. Music and Worship in Pagan and Christian Antiquity (Johannes Quasten)
  2. Theology of the Liturgy (Joseph Ratzinger)
  3. Papal Legislation on Sacred Music (Msgr. Robert F. Hayburn)
  4. Sacred Music (a four-part production of the BBC)
  5. Coming of Age in the Milky Way (Timothy Ferris)
  6. Why Catholics Can’t Sing (Thomas Day)

Here are the Kyrie and Gloria from the Missa Entre Vous Filles by Orlando de Lassus, the polyphonic Mass setting that almost torpedoed polyphonic music in the Church. To our “distant” ears it is delightful and melodic. At the time, however, it engendered great outrage as nearly pornographic, because it drew from the melody of a “racy” song of the time.

A Short Consideration of a Central Liturgical Principle

Some years ago, I was praying with a group of servers and other liturgical ministers just prior to going forth from the sacristy to celebrate a rather complex liturgy. I remember asking God in the prayer, “Please Lord, help us to serve you well, but above all, help us not forget to worship you.” For indeed, it is possible to be so focused on details that we forget the very Lord to whom the details are directed. A priest, server, lector, or musician can feel very good about how a liturgy has gone technically. I sang well. I preached or presided well. I remembered this detail or that one.  Yet, the most critical factor of all often goes unconsidered: Did I worship God? In other words, did I make room for him in my heart and mind? Even more radically, did I really even think that much of God at all during the Liturgy?

Cardinal Robert Sarah’s wonderful new book, The Power of Silence Against the Dictatorship of Noise, contains a wonderful meditation on this subject. He uses as an example the magnificent praise the Lord Jesus receives on that first Palm Sunday and then makes an observation I had never considered:

When Jesus went down from Bethany to Jerusalem on Palm Sunday, he was given a grand, solemn reception. The people spread coats and branches beneath his feet and acclaimed him as a Son of David. They all cried: “Hosanna! Blessed is he who comes in the name of the Lord, even the king of Israel!” (John 12:13).

…When the festivities were over and it was late, oddly enough, seeing no one to offer him hospitality or give him something to eat, Jesus left the city and went back to spend the night in Bethany with his disciples.

The Son of God was welcomed triumphantly but found no one to open his door to him. Similarly, in our age, how often our welcome, our love, and our praises are superficial, without substance, really a coat of religious varnish….

Nowadays, in a similar way, when we acclaim Christ during the major liturgical feasts, we must insistently make sure that our joy is not merely artificial. Often we do not give the son of God the opportunity to do well in our hearts.

(The Power of Silence, pp. 60-61)

Like many of you, I love liturgical beauty; there is nothing wrong with such beauty. The problem is in our heart; we have so little room there. Perhaps asking ourselves a few simple questions after each Mass will help us to better discipline our thoughts and attention:

  1. Did I worship God or just enjoy the splendor?
  2. How and when in this liturgy did I encounter the Lord and experience his presence?
  3. How am I different from this encounter?
  4. Am I grateful?

 

On the Power of Liturgy and Prayer

There is a text from the Acts of the Apostles (read last week at Mass) that sets forth quite well some of the qualities of the Sacred Liturgy. Although the “liturgy” cited in this passage is not a Mass, the description should apply to all our liturgies; from the Liturgy of the Hours to baptism, from a penance service to a full sung Mass. Let’s look at the passage and learn from it the power of liturgy to deliver, instruct, and transform us and the world.

About midnight, while Paul and Silas were praying
and singing hymns to God as the prisoners listened,
there was suddenly such a severe earthquake
that the foundations of the jail shook;
all the doors flew open, and the chains of all were pulled loose.
When the jailer woke up and saw the prison doors wide open,
he drew his sword and was about to kill himself,
thinking that the prisoners had escaped.
But Paul shouted out in a loud voice,
“Do no harm to yourself; we are all here.”
He asked for a light and rushed in and,
trembling with fear, he fell down before Paul and Silas.
Then he brought them out and said,
“Sirs, what must I do to be saved?”
And they said, “Believe in the Lord Jesus
and you and your household will be saved.”
And they spoke the word of the Lord to him and to all who were in his house.
And he took them the same hour of the night and washed their wounds;
and he was baptized at once, he and all his family (Acts 15:25-33).

DeterminationAbout midnight, while Paul and Silas were praying and singing hymns to God as the prisoners listened … Here they are in an awful place, a deep dungeon with rats and filth all about, and yet they are singing.

An old hymn reminds us to persevere in praise: “Whatever my lot, thou hast taught me to say, ‘It is well with my soul, it is well.’” Yes, happiness is an inside job. There may be times when we don’t feel emotionally ready to praise God, but we have to command our soul. In the words of the psalm, I will bless the Lord at all times. His praise shall continually be in my mouth (Psalm 34:1).

Note that this is communal not personal prayer, and thus it is a kind of liturgy. They are singing hymns, a form of communal and liturgical prayer. More literally, the Greek text says that they were singing praises (humneo) to God. “Hymn” comes from humneo. Perhaps they were singing psalms or perhaps they were singing newly composed hymns such as we see in Philippians 2:5-11, Ephesians 1:3-14, or Colossians 1:15-19. But note their determination to praise the Lord anyway. Such praises will bring blessings, for when praises go up, blessings come down.

The Church must always be determined to celebrate the liturgy. The last thing we should ever consider stopping is the Mass! Recall how many priests and bishops locked up in prisons were earnest to obtain even the slightest scraps of bread or drops of wine in order to celebrate the Mass. Recall the many martyred priests during troubled times in England who risked everything to celebrate the Holy Mass. We must always be determined to pray, and whenever possible, to celebrate the Sacred Liturgy, even at great risk.

Disturbance… suddenly such a severe earthquake that the foundations of the jail shook … Does our worship rock this world to its foundations? It should. The world ought to know and experience that we are at prayer! We should rock this world with our refusal to be discouraged at what it dishes out.

Further, good prayer, preaching, and the simple presence of the Church ought to shake things up a bit. It is said that a good preacher will comfort the afflicted and afflict the comfortable. Each of us has a little of both within us.

Note that the early Christians were often arrested for being “disturbers of the peace.” They said politically dangerous things like “Jesus is Lord” rather than “Caesar is Lord.” Religiously, they upset the order by announcing that many of the old rites were now fulfilled. Temple worship was over. Jesus was the true temple and Lord, and the Eucharist now supplanted the lucrative temple rites. Morally, the Church shook things up by demanding love of one’s enemies and that people no longer live as did the pagans, in the futility of their minds. These things and more tended to disturb the political, social, and religious order. Liturgically, we gather to celebrate and learn many earthshaking truths and to be liberated from the hold of the world, the flesh, and the devil.

Yes, the presence of the early Church was a kind of earthquake. When the Church is strong she not only consoles; she disturbs and even rocks things to their foundations by the simple declaration, “Thus says the Lord” and by our praise of Him who is true Lord and Sovereign King, far outranking all other kings and those who demand our loyalty and conformity.

Deliverance… all the doors flew open, and the chains of all were pulled loose. The liturgy of praise and worship of God should effect an ongoing deliverance. The prayer of the Church in her liturgy should set people free: prison doors swing open, chains fall loose, and increasing freedom is granted to faithful.

I am a witness to this and I pray that you are as well. I have attended and celebrated Mass every day for more than thirty years now. In that time, through praise, hearing God’s Word, being instructed in God’s Word, receiving the Word Made Flesh in Holy Communion, and deep abiding fellowship with believers, I am a changed man. Many shackles have come loose. A new mind and heart have been given to me and the prison cells of anxiety are no longer. Deliverance is what happened to us when the Lord took us out of the kingdom of darkness and into the Kingdom of Light. Through the liturgy, that deliverance becomes deeper, richer, broader, and higher.

DignityWhen the jailer woke up and saw the prison doors wide open, he drew his sword and was about to kill himself, thinking that the prisoners had escaped. But Paul shouted out in a loud voice, “Do no harm to yourself; we are all here.” The liturgy we celebrate is that of the Catholic Church. The term Catholic refers to the universality of the Church’s mission. All are to be called.

One effect of the liturgy on us should be that we neither hate nor exclude anyone. Paul and Silas do not gloat over the misfortune of their jailer. Knowing his dignity, they call out to him, even at the risk of their lives.

The Church, too, seeks the welfare and salvation of even our most bitter opponents. Our liturgy is celebrated not only for our friends but for the whole world.

The Church is Catholic; all are called. Painting a picture of the Church, Scripture says, I [John] looked, and there before me was a great multitude that no one could count, from every nation, tribe, people and language, standing before the throne and before the Lamb. They were wearing white robes and were holding palm branches in their hands (Rev 7:9). I realize how true it is that God does not show favoritism but accepts from every nation the one who fears him and does what is right. Everyone who believes in him receives forgiveness of sins through his name (Acts 10: 34-35, 43).

Discipleship[The jailer] asked for a light and rushed in and, trembling with fear, he fell down before Paul and Silas. Then he brought them out and said, “Sirs, what must I do to be saved?” And they said, “Believe in the Lord Jesus and you and your household will be saved.” And they spoke the word of the Lord to him and to all who were in his house. And he took them the same hour of the night and washed their wounds; and he was baptized at once, he and all his family.

Making disciples (not just members) is the primary job of the Church. To be a disciple is to be a follower of the Lord, but the word “disciple” also comes from the same Latin root (discere) as the word “learning.” Thus, the Church in her liturgy not only worships the Lord, she instructs the faithful and supplies the sacraments.

Note that the jailer asks for light. Do not think of this as merely a practical request. Asking for light is asking for the enlightenment that comes from Faith and Baptism. The Church in her liturgy and by her witness supplies light and acclimates the faithful to that light.

The jailer, having asked for the light, been instructed, and become accustomed to the light, is baptized.

Here, then, are some goals of and a description of true liturgy, one that rocks the world and yet delivers the faith, forming the people in the beauty of God’s grace. Do you and your fellow parishioners see the liturgy this way or do you see it as distant, even boring? See what this Scripture passage teaches about the truest goals and nature of every liturgy, great or small, in the Church.

What is Sacred Music? It’s a Bit More Complex than You May Think

March 1 blog postThere was a discussion a few years ago on my Facebook page about Church music. My parish, Holy Comforter-St. Cyprian in Washington, D.C., was featured on EWTN’s nightly news (see video below); the discussion centered on that report.

Among the many forms of music we use here at my parish, gospel music is predominant at our 11:00 AM Mass. While many of the comments on the Facebook page were encouraging and supportive of this music, there were still a significant minority that spoke of gospel music as being inappropriate for Catholic liturgy and of it not being sacred. Chant, polyphony, and traditional hymns were held up as sacred, while gospel and some modern forms of music were labeled “not sacred,” and/or inappropriate for Catholic worship.

While everyone is certainly entitled to his personal preferences, is there really a definitive answer to the question, what is sacred music and how is it that some forms have come to be more widely regarded as sacred than others?

The answer to this question is a little more complex than most people realize. With the exception of chant, almost every form of music that is today regarded as sacred initially had a stormy reception in the Church before being admitted to the ranks of music commonly called “sacred.”

That music is controversial in the Church is nothing new, as we shall see in this modest survey that I make of the history of music in Catholic liturgy. Some of my sources are listed at the end of this post, but it is really the product of many years of reading and studying.

On some level, I hope to provide some perspective on the claim that is often made today that certain modern forms of music are inadmissible because they are not “sacred.” In no way do I intend to approve of all forms of modern music nor to encourage the admission of all of them into the liturgy. But it is worth appreciating that the definition of “sacred music” has changed over time. New forms have been admitted— sometimes reluctantly—to the exalted class we refer to as “sacred music.”

Here, then, is a brief look at the history of Church music in terms of what has been considered sacred and what has not.

I. The early, pre-Constantine period: Chant reigns supreme – While little if any music survives in written form from the earliest days of the Church, it seems clear (as Johannes Quasten records) that the leaders of the early Church (the Fathers and bishops) preferred monophonic music. This seems largely due to the association of harmony with the excesses of the pagan world and pagan worship.

Frankly, there was in the early Church a very persistent theme that music itself was problematic. Many ancient bishops and Fathers of the Church barely tolerated it, sought to limit its influence, and/or were deeply suspicious of any singing at all.

In his essay “On the Theological Basis of Church Music,” Cardinal Ratzinger; drawing from sources such as Pope Gregory the Great, St. Jerome, Gratian, and even as recent as St. Thomas Aquinas; describes the rather negative opinion in the early Church of any music involving instruments, harmony, or anything deemed “theatrical.” He writes,

Instrumental music, understood as a Judaizing element, simply disappeared from the early liturgy without any discussion; the instrumental music of the Jewish temple is dismissed as a mere concession to the hardness of heart and sensuality of the people at that time. What the Old Testament said about music and worship could no longer be applied directly, it had to be read by them allegorically, it had to be spiritualized (Ratzinger, “On the Theological Basis of Church Music,” quoted from Collected Works Vol XI, pp 425-432).

Summarizing the views he had received from the earlier Church, St. Thomas writes, “In the praise of God, the Church does not employ musical instruments … lest she appear to be falling back into Jewish ways” (Summa Theologica II, IIae, q. 91 a 2 ad 3).

Cardinal Ratzinger continues,

Analyzing the texts, not infrequent in the Fathers, which are critical of music or even openly hostile to it, one can clearly identify two constant and governing factors:

A. In the first place there is the one-sidedly “spiritual” understanding of the relationship between the Old and New Testaments … [So] Christian liturgy … took on a more or less Puritan form. … The idea that God can only really be praised in the heart means that no status can be accorded to music … In Christian worship … music must be relegated to a secondary level. Augustine is a splendid example of this. His sensitivity to music causes him much torment because his mind is dominated by a spiritualizing theology that ascribes the senses to the Old Testament, the old world; he is afraid of “sinning grievously” when he is “moved more by the music then by the reality to which the singing refers” … and would prefer “not to hear singing at all.” Fortunately his rigorism is dampened when he recalls the profound stirring his soul experienced when he first heard Church music in Milan. [He thus adopted a view of music later stated by St. Thomas, which held that among the reasons for Church music was that] “Thus the minds of the weak be more effectively summoned to piety.”

B. The second group of ideas that stood in the way of a positive the valuation of Church music … is put in a nutshell in Thomas’ fundamental article on the praise of God, where he says that vocal worship is necessary, not for God’s sake, but for the sake of the worshiper (Ibid).

Cardinal Ratzinger argues in the essay that this tended to lead to a utilitarian view of Church music as necessary to some degree, but somehow less than ideal. He reflects that this created a barrier to any satisfactory theology, not only of Church music, but of all prayer whatsoever.

He also adds (in a later essay) another reason for the restrictive notions about music in the early Church:

To the extent that it distanced itself from the Semitic world, the development of Christological art songs [also] threatened more and more to turn into an acute Hellenization of Christianity … The fascination of Greek music and Greek thinking [now excluded] … so that the new music rapidly became the domain of Gnosticism … For this reason [too] the Church immediately and rigorously rejected the poetical and musical innovation and reduced Church music to the psalter … This limitation of liturgical singing which gradually began asserting itself from the second century … led to a forbiddance of private song compositions and noncanonical writings in liturgical services. The singing of the psalms also came to be restricted to the choir whereas others “should not sing in church” (See canon 59 of the Synod of Laodicea 364 AD) (Ratzinger, Ibid, p. 505).

Thus music in general, given its Semitic and pagan associations, was widely resisted in the early Church and tolerated only in limited ways. Music with any harmony was altogether excluded and would not reappear until the Late Middle Ages.

Another reason that the early Church seems to have favored non-harmonic singing was somewhat rooted in the cosmology of the time, wherein there was an emphasis on the unity of all things. Whatever diversity was discovered was viewed as coming from the one hand of God. Monophonic music seemed to better express this unity, at least to the ancient Christian mind.

This cosmology of unity still finds its expression in the way that most Prefaces in the Mass are ended. The Latin text speaks of the multitude of the choirs of angels, joining with the voices of the many saints (cum Angelis, et archangelis, cum Thronis, et Domininationes … et òmnibus Sanctis). And yet despite the vast multitude of voices, at the end of the preface it says that they all sing “as with one voice saying” (una voce dicentes), “Holy, Holy, Holy, Lord God of hosts.”

And so at the earliest stage, sacredness was associated with what we today call chant. To the ancient Church, harmony was widely considered to be secular, even pagan.

II. The Church after Persecution: Chant develops – The earliest chants were quite simple and largely syllabic (one note per syllable); there were few elaborations. However, after the Edict of Constantine (321 A.D.) as the Church came out of a more hidden worship, the use of large, cavernous buildings started to influence the singing. Cantors began to elaborate on the chant, making full use of the echoes in the larger, basilica-like buildings. Vocals became increasingly melismatic (multiple notes per syllable) rather than syllabic, especially during festival seasons. Syllables (such as those in the word “Alleluia”) began to be extended longer with more and more notes.

Singers also “yielded to the spirit,” and the long melismata became a kind of ecstatic “singing in tongues.” Though at first any elaboration was resisted, certain chants did begin to develop in some areas. As these melodies became increasingly complex, they were written down and collected by Pope St. Gregory (among others), hence the modern name, “Gregorian chant.”

As these chants became more and more elaborate, their sacredness was only gradually conceded. In fact they became so complicated that the faithful in the congregation, who were already being discouraged from singing at all, had great difficulty joining in most of the chants. For this reason, special choirs called scholas were formed.

III. The High Middle Ages: Harmony enters – The next major development in Church music took place during the High Middle Ages, generally speaking in the 13th century. The first developments of harmony occurred in the musical schools in France, particularly around Paris. It was here that we saw the first widespread introduction of harmony into Church music.

Several factors influenced the introduction of harmony. First, there was the reintroduction of Greek philosophy and some of its views back into the Western world through scholasticism.

Among the Greek notions there was a cosmology that spoke of the planets orbiting the sun in perfect circles, each of them ringing out a different tone and creating a beautiful celestial harmony in the heavens as they did so. This was the “music of the spheres” and the idea of a great and beautiful harmonic sound in the heavens. Thus the association of harmony with the sacred began to seem more plausible in the minds of Christians.

The first experimentation with harmony seems to have been singing the Gregorian melodies and adding a hollow harmony of a fourth or fifth. Sometimes this involved several singers singing the words in those harmonies. Other times the harmonizers simply “droned” in the background, somewhat like bagpipe drones.

Architecture was another factor that influenced the harmonies. The soaring new cathedrals with their vaulted ceilings that began to dot the landscape of Western Europe seemed to demand more soaring music. These cathedrals were the skyscrapers of their day.

As harmony began to sound more pleasing to the ears, scholars worked to study it using, of all things, the Pythagorean Theorem to mathematically set forth the harmonic scale. Thus mathematics and music came together to quantify a kind of music theory. Gradually, as the years just prior to the 16th century ticked by, we came to have what we know of today as the 12-tone scale.

The introduction of harmony (as with most things musical) in the Church was not always without controversy. Some thought that it made the words harder to understand, a complaint that would plague polyphonic music in its early stages.

Nevertheless, as a general rule, the new harmonies from the Paris school swept through Europe to widespread acclaim. People flocked to the cathedrals to hear this splendid new music.

IV. Late Middle Ages to Renaissance: Musical revolution and growing crisis for polyphony – It is hard to describe what took place in music from the late 1300s to 1500 as anything less than revolutionary. The modern harmonic scale as we now know it came into full realization. Harmony went from two-part, to three-part, and then to four and more parts, amazing listeners everywhere.

The incredible development of music during this period paralleled the remarkable developments in painting: increasing use of shadow, light, perspective, and depth. By the early 1500s, Renaissance polyphony was in all of its glory. Composers such as Isaac, Lassus, Palestrina, Victoria, Tallis, and Byrd brought this art form to an amazing richness.

But the music was not without controversy. There were two main problems with this new style called polyphony.

The first problem was the intelligibility of the text. With multiple harmonies being sung, the Latin text, often staggered across many parts and voices, became harder and harder to understand. Clergy in particular complained of this, arguing that the sacred text was taking a backseat to musical flourishes. In addition, the “theatrical showiness” seemed secular to many.

The second troubling issue was that many of the composers of the day drew from secular melodies that were often heard in taverns, in theaters, and on the streets. They would often take these recognizable melodies and set them as a cantus firmus (musical theme or foundation) of sacred compositions, including the parts of the Mass.

Heinrich Isaac, as early as the 1400s in his Missa Carminum, drew from many of these tavern songs. But perhaps the most egregious example of this, and something that almost caused polyphony to be banned completely from the Catholic Church, was a Mass composed by Orlande de Lassus.

The Mass in question was his Missa Entre Vous Filles. The main melody of both the Kyrie and the Gloria came from a secular piece by the French composer Jacob Clemens non Papa, the words of which bordered on the pornographic. As the Mass grew widely popular (for it is a lovely melody), Church authorities discovered its source and a great uproar ensued.

This controversy took place during the years of the Council of Trent, and though some scholars are dubious of all the details, it is reported that there were Council Fathers who were serious about seeing that sacred polyphony was forever banned from the Catholic liturgy.

Among those who came to the rescue, I am happy to report, was my patron saint, St. Charles Borromeo. He assembled some increasingly dubious bishops and cardinals who were attending the sessions of the Council of Trent so that they could hear the Pope Marcellus Mass by Palestrina. This particular Mass seems to have been specifically composed to address some of the critiques about the intelligibility of the text and the secular origins of many melodies. The presentation calmed some of the fears regarding this new music and the crisis largely passed.

This incident demonstrates that what many today consider a very sacred sound (namely Renaissance polyphony) was quite controversial in its day. It was only thought of as sacred in a widespread way later on. After surviving this first crisis, polyphony became less “florid” and gave greater emphasis to the intelligibility of the text. Secular melodies were also excluded. For these reasons, later works by Palestrina are more austere than those from his earlier period.

Thus we see how the definition of what makes for sacred music had already passed through two major periods. In the first, harmonies were considered too secular; in the second, harmony was introduced but only slowly accepted as sacred in nature.

V. The Renaissance to the Baroque: New controversies, old problems – In the period of the middle Renaissance a new cosmology began to replace the idea that the planets revolved around the sun in perfect circles. Astronomy started to reveal that most of the planets revolved around the sun in elliptical orbits, some of them quite elongated. The notion of the circular orbits of the planets, symbolized by the “music of the spheres” and imitated by Renaissance polyphony, began to give way to the understanding of the mathematical progression of elliptical orbits—a kind of Bach fugue in the sky. This change in cosmology helped to usher in the rather more elaborate, yet mathematical, music of the Baroque period.

In this period we find the wonderful and mathematically precise music of Bach, Vivaldi, Handel, Mozart, Gabrieli, Schubert, Scarlatti, and many others. Perhaps the fugue best exemplifies the kind of mathematical cosmology of the time. In a fugue, mastered by Bach but not wholly unique to him, a musical theme is set forth. For example, quarter notes may announce the theme of the fugue. This theme is then repeated in the left hand and then in the feet (of the organist). It also progresses mathematically: into eighth notes, then into sixteenth and even 32nd notes. Math meets music! Other musical forms like canons emerged similarly. Symphonies also grew to have movements, which were often named for their tempo (e.g., allegro, adagio, presto).

The classical and baroque periods brought the great orchestral or “Classical” Masses, by composers such as Mozart, Schubert, Scarlatti, and many others. Even Bach and Beethoven set the Catholic Mass in great symphonic and orchestral renderings.

Much controversy accompanied these newer forms. Once again, the principle concerns was the intelligibility of the text. Another concern was the length of many of these Masses; in some, the Glorias and Credos could go on for twenty minutes or more.

Some complained that these musical settings of the Mass made it sound more like being at the opera than Church. Indeed, they often broke the sacred text into movements sprinkled with soprano or tenor solos and duets, grand choral sections, and often with a full symphonic accompaniment. It was quite a feast for the ears! These Masses were generally so elaborate that they could only be performed in the larger, well-endowed, city churches.

The controversy concerning these kinds of Masses continued for many years. Even as liturgical reforms began in the early 1900s, Pope Pius X frowned on their usage, referring to these orchestral Masses as “theatrical” (see Tra Le Sollecitudini # 6). This led to a de facto banishing of the form from the Catholic liturgy at that time. Only after the Second Vatican Council was this form rehabilitated in a small way.

Here, too, we see that what many Catholics today consider unquestionably sacred (e.g., a great Mozart Mass) had to survive much controversy and even a kind of banishment. What is thought of as sacred today has not always enjoyed that rarefied distinction!

VI. The Modern Era: New musical forms, new controversies – This leads us to the modern era. As we have seen, those who think that debates about what constitutes sacred music are new are sadly mistaken. These disputes have been quite a consist part of Church life almost from the beginning. To simply place them at the feet of the Second Vatican Council is to lack historical perspective.

It is true that two documents of the Second Vatican Council (Musicam Sacram and Sacrosanctum Concilium) opened the door to newer forms with a greater freedom toward inculturation (e.g., MS # 18, 63), but they also reasserted the special accord to be given to chant (# 50a), polyphony, and the pipe organ (# 4a).

Although debate continues about newer forms of music and whether or not they are sacred, such tensions have long existed. Some newer forms have already been tried and found wanting (e.g., Polka Masses). Other forms such as “folk” or contemporary music, with adaptions over time, have remained.

Finally, let me say a few things about gospel music, the debate about which occasioned this rather lengthy post.

  1. Simply stating that gospel music is not sacred or that it is inappropriate for Catholic liturgy does not make it true. As we have seen, the judgment about what is sacred often takes time to be worked out. The notion of what sounds or seems sacred also changes; there are forms that were once considered improper that have since been admitted to the ranks of the sacred.
  2. Gospel music, unlike many other modern forms (e.g., polka, mariachi), has sacred roots. It emerged from the spirituals and hymns of the antebellum period and the early 20th century. And while gospel music is not strictly Catholic in origin, that fact does not disallow it per se from Catholic liturgy.
  3. One virtue of gospel music is its focus on God. Too many contemporary “worship songs” speak more of us and the “gathered community” than of God. Not so gospel, which is centered almost entirely on God.
  4. Like almost any form of music, gospel can have its excesses, but this does not mean that the whole form is flawed—only that certain rational limits should be observed. This was the case with early polyphony and the Classical Masses, and it is also true of gospel.
  5. Many complain that gospel looks too “performed.” Generally, however, most “outsiders” confuse the exuberance of the congregation and the singers with performance. Clapping is also not for the performer per se but is directed to God and is in gratitude for this manifestation of the Spirit.
  6. If one does not “prefer” or even like gospel music, he is free to stay away from it. But mere preference or taste does not mean that gospel is intrinsically lacking in sacred qualities. Similar things can be said about the use of hymnody. To my mind, the use of metrical hymnody is a good way to once again engage the faithful in the singing of sacred texts in ways that are melodic, memorable, appropriate, and easily learned. But for others, the Protestant origins of this form and most of its repertoire are a sticking point. Over the years, many of these hymns have found a solid place in Catholic liturgy.

Summation: Historically, no form of music currently considered sacred achieved that status without controversy. Indeed, music itself was controversial in the early Church and was barely tolerated by many of the Church Fathers. Time ultimately proves where wisdom lies and ultimately mediates for us what is sacred in a way that transcends mere passing tastes or preferences. Music has made several revolutionary leaps during the age of the Church. Provided necessary rational limits are applied, there is no need to rush to exclude every newer form. If we were to do so, only chant would exist in the Church and we would be deprived of a great treasury of music from the era of polyphony and the classical period.

In saying this I do not mean to indicate that all music is just fine, or that all modern forms are here to stay, or that newer forms should be unquestioned. It is clear that some forms are wholly inimical to the Sacred Liturgy. Rather, I seek to remind people that what we call “sacred music” is historically quite complex. It is the result of long and vigorous discussions, refinements, and other factors as diverse as cosmology, architecture, mathematics, and culture.

We do well to let some of the conversations and controversies work themselves out, lest in too quickly ending them by judicial fiat we impoverish ourselves and block what might bless others and even our very selves.

These are just a few of my sources for the above article:

  1. Music and Worship in Pagan and Christian Antiquity (Johannes Quasten)
  2. Papal Legislation on Sacred Music (Msgr. Robert F. Hayburn)
  3. Sacred Music (a BBC four-part production)
  4. Coming of Age in the Milky Way (Timothy Ferris)
  5. Why Catholics Can’t Sing (Thomas Day)

Here are the videos that sparked the discussion on my Facebook page: