Yes, it's germane to a discussion of "church music."

"Schlock, at its finest, is where bad taste becomes great art. Schlock is music that subjugates all other values to brute emotional impact; it aims to overwhelm, to body-slam the senses, to deliver catharsis like a linebacker delivers a clothesline tackle. The qualities traditionally prized by music critics and other listeners of discerning taste — sophistication, subtlety, wit, irony, originality, “experimentation” — have no place in schlock. Schlock is extravagant, grandiose, sentimental, with an unshakable faith in the crudest melodrama, the biggest statements, the most timeworn tropes and most overwrought gestures. Put another way: Schlock is Rodgers and Hammerstein, not Rodgers and Hart. It’s “Climb Ev’ry Mountain” and “You’ll Never Walk Alone,” not “Manhattan” and “My Funny Valentine.”"

..."The etymology is revealing. Schlock comes from the Yiddish shlak, meaning secondhand, or damaged, goods; it describes something both inexpensive and of dubious value, something cheap, junky, tacky. In the 1920s, schlock was a slang term among criminals for stolen merchandise, for booty that you fenced in bulk — and critics often invoke the term schlock when describing music that has the whiff of shoddy illegitimacy about it, music that is the result of industrial-pop production and is by implication formulaic, relying on pilfered materials, borrowed ideas, clichés. A secondary meaning of shlak is apoplectic stroke, which may resonate with connoisseurs of musical schlock — with anyone, for instance, who’s experienced the Richter-scale-rattling spectacle of Céline Dion singing “All by Myself” live in concert.

Schlock has a close relative in another Yiddishism, schmaltz — a label often given to music that is swamped by goopy sentimentality, as a roast chicken is swamped by rendered fat. Much schlock music qualifies as schmaltz, or is at least very schmaltzy. But schlock is a broader category than schmaltz; it makes room for songs that are grandiose but less reliant on lachrymose sounds and sentiments."

Found here: http://www.vulture.com/2014/05/jody-rosen-in-defense-of-schlock-music.html

Hmmmm. The author brings home the vital importance of St Pius X's dictum that "sacred music raises the MIND and the heart to God." The conjunction is vital. (And yes, I know that "sacred" music is a subset of "church" music. But "church" music includes hymnody, ain'a?

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