Hello colleagues,

This letter was sent to my pastor. I am looking for your very direct and specific help at answering the objections layed out within so that he can return to the sender a very good end-product. I think I have some idea where I would go with this but feel I have much to learn from you!

Just FYI, I have been at this parish since August. We have started changing stuff in incrimental chunks after my first whole month there, in which I listened (and played) to the 'great' OCP pieces like 'Gentle Water, Flowing Ocean' and 'Come to the Table', etc... The pastor was responsible for getting rid of the OCP; he asked me to help pick out a hymnal. He decided the Vatican II was 'too much' for his parish but liked the St. Michael. Last Sunday we sang 'Alleluia, Sing to Jesus', immediately followed by a refrain from the SEP Introit. We sang Mass parts from Dom Gregory Murray's 'People's Mass', the Responsorial Psalm from our WLP Misalette, though we had been trying some of the Chabanel Psalms before four or five musicians complained, sang the Mode VI Alleluia, 'Be Thou My Vision' for Offertory, the ICEL Mystery of Faith and Amen response, the Communion Antiphon SEP chant followed by 'Jesus, My Lord, My God, My All, followed by 'O God, Beyond All Praising' as a Recessional hymn. These did not seem like 'boring' hymns to me... Also note, our parish has enjoyed the greatest 12 week period of NEW parishioners, increased giving and attendance in its history, (according to our pastor).
Thank you! -JIF

Dear Father ________,

I am writing you about my concerns with the changes in the music at _______ Parish. I understand that the music is neither the central nor the most important part of the Mass, but it does contribute to the prayer and sacred majesty of the liturgy.

1. The new St. Michael’s Hymnal does not contain many of the hymns we have previously sung at St. _______. We have effectively lost our repertoire. There are many good hymnals on the market that would improve on the old Music Issue without losing what was good about what we knew.

The new hymnal has effectively eliminated contemporary hymns. All of the hymns written in the years since Vatican Council II were not bad – it seems a shame to toss out the good with the bad. I have a reference below (emphasis added) from Sing to the Lord: Music in Divine Worship, Issued by USCCB, November 14, 2007.

St. Michael ignores many themes that are relevant in our world, such as social justice, mission, and ministry. The few listed in the hymnal are really a stretch to consider them social justice. As just one example, I’ve attached a list from the GIA Gather hymnal on a few topics that are missing from St. Michael.

The new hymnal abandons inclusive language. I don’t understand the reasoning behind this. Inclusive language (when done well) does not take away from the meaning of a traditional hymn, and acknowledges our understanding of “differentness” has changed.

“Inclusive language is far more than an aesthetic matter of male and female imagery; it is a fundamental issue of social justice. Language that is truly inclusive affirms sexuality, racial and ethnic background, stages of maturity, and degrees of limiting conditions. It shows respect for all people. Scripture proclaims the world is created, redeemed, and sustained by the Word of God, and the church attests to the power of language and words, recognizing that words have the power to exploit and exclude as well as affirm and liberate.” Inclusive Language

Why was a hymnal chosen that has no psalmody? While the missal has responsorial psalms, they are not always the best fit for the parish’s liturgy. A hymnal with psalmody would provide an additional resource for worship.

2. We have not been singing the psalm responses in the missal, and have no worship aid. The psalm response was one of my favorite parts of the Liturgy of the Word, with the back and forth action of the choir/cantor and congregation. That is missing now, as the congregation has no clue what to sing. (WHAT???)
3. Since we have lost our repertoire, there has been not training in learning these new hymns. People often don’t participate when a hymn is practiced before Mass, but my experience is that people do participate more in singing the hymn if they have heard it before it comes up during Mass.

4. Last fall, we had a worship aid – words and music – for the new Mass setting. Once the new Roman Missal was introduced, the worship aid was gone. Now, when we sing a Mass part, we no longer have the music! Not everyone at Mass was there last fall when we had the worship aid. We need a worship aid or a reference to what we are singing.

5. With the addition of the sung entrance and communion antiphons, I suggest that the congregation have a worship aid with at least the words. It is sometimes difficult to follow sung chant, and having the words would make the antiphons more accessible to those listening. (THE MISALETTE HAS THE WORDS AND I'VE MENTIONED THIS SEVERAL TIMES!)

6. I understand we are in a phase of change while implementing the 3rd edition of the Roman Missal. With the additional emphasis on chant, our cantors need more training. I hope this is in the works. Not any choir member can cantor. It takes lots of practice and skill. Has St. _____ considered offering a stipend to cantors? Such a plan would help ensure that qualified, trained cantors are singing.

I’m voicing my concerns because I find the music at St. _______ has become dull and boring. (ARGHHHH!) People are not participating because we don’t know the music and don’t have the music in front of us. I used to look forward to Sunday Mass as a celebration of God’s love for his people. I’m not finding the joy in our current Masses. I thought we “celebrated” the Mass – but lately, the “celebration” seems to be missing.

from 'Sing to the Lord' USCCB 2007

81. The Church needs artists, and artists need the Church. In every age, the Church has called upon creative artists to give new voice to praise and prayer. Throughout history, God has continued to breathe forth his creative Spirit, making noble the work of musicians’ hearts and hands. The forms of expression have been many and varied.

82. The Church has safeguarded and celebrated these expressions for centuries. In our own day, she continues to desire to bring forth the new with the old. The Church joyfully urges composers and text writers to draw upon their special genius so that she can continue to augment the treasure house of sacred musical art.75

83. The Church never ceases to find new ways to sing her love for God each new day. The Sacred Liturgy itself, in its actions and prayers, best makes known the forms in which compositions will continue to evolve. Composers find their inspiration in Sacred Scripture, and especially in the texts of the Sacred Liturgy, so that their works flow from the Liturgy itself. 76 … No matter what the genre of music, liturgical beauty emanates directly from that mystery and is passed through the talents of composers to emerge in music of the assembled People of God.