The elephant in the room of the post-Vatican II Mass is the so-called liturgical chant that is promoted as the wave of the future, the way to keep young Catholics engaged. Yes it does engage young Catholics sense of entertainment and that will keep them coming to Mass for the music. But will the Church's prophetic message find a place to be planted and grow? Will they grow in authentic Catholicism, her faith and morals? I wonder.
The following examples are what is considered by the progressive wing of the Church as the way Catholics should worship. They frown on the Extraordinary Form of the Mass, kneeling for Holy Communion and receiving the Host on the tongue. They have an antipathy for the chant norm of the Church, Gregorian Chant.
Watch the last video and the Chow line for Holy Communion and the bodily actions of the communicants in this "procession" to get their Jesus!
Obviously the music below from Saint Monica Church in Santa Monica, California is performed very well, but in the most secular way possible. This is what modern liturgists want for the Ordinary Form of the Mass and there is a battle royal going on between them and those promoting chant. Pray that chant wins the battle!
Is this stuff really Catholic? Is this why there is an SSPX today? Watch the videos below. Watch the last video, this is the Holy Communion Procession! Talk about trivializing the most sacred moment of Cafeteria Catholicism! Like the video above it, it is pure "magic"! How does the Los Angeles Archdiocese promote this stuff, but watch their religious education conference Masses, they think this stuff is great but would be horrified if the SSPX is regularized! I report you decide:
I don't have a survey to prove this, but I suspect that the vast majority of parishes in the USA hear this type of "chant" Sunday after Sunday and now for decades. What does this do to Catholic liturgical identity and sensibilities? I report, you decide:
I attended Mass at this Church in California on Epiphany this past January, it is St. Monica Church in Santa Monica, a beautiful Church that has inculturated its liturgy with Hollywood style music! What does this do the Catholic spirituality and sensibilities? This is what progressive liturgists shove down our throats saying this kind of music will save the Church! And if entertaining you with liturgical music isn't enough, why not throw in some liturgical dance! Some more "good" contemporary Catholic liturgical chant! And just imagine people get to watch all this too, not just listen, how inspiring! This a Holy Communion procession which is more like a liturgical chow line--progressives hate altar railings and the accompanying reverence of authentic chant and kneeling for Holy Communion! The Musical Shape of the Liturgy, by William Mahrt, WHICH YOU CAN PURCHASE HERE is the first full treatise that maps out -- historically, theologically, musically, and practically -- the musical framework of the Roman Rite in a way that can inform audiences of all types. Mahrt demonstrates that the Roman Rite is not only a ritual text of words, but is a complete liturgical experience that embeds within it a precise body of music that is absolutely integral to the rite itself. In other words, the music at Mass is not arbitrary. It is wedded to the rite as completely as the prayers, rubrics, and the liturgical calendar itself. Everything in the traditional music books has a liturgical purpose. When they are neglected, the rite is truncated; the experience is reduced in splendor. These claims will amount to a total revelation to most all Catholic musicians working today. As Mahrt points out, genuine Catholic music for Mass is bound by an ideal embodied in the chant tradition. This tradition is far more rich, varied, and artistically sophisticated that is normally supposed. It is the music that is proper to the Roman Rite. The opening section of the book provides a four-part course in the musical structure of the liturgy covering the origin, history, and liturgical purpose of the ordinary chants. The second section explores the particulars with detailed commentary on particular chants and their meaning. Further commentaries reflect on the polyphonic tradition that became part of the ritual experience of Mass in the middle ages, as well as the use of organ in Mass. The third section turns to the specifics of putting all of this into practice in the contemporary world. This section is the one that is of the highest practical value for pastors and musicians today. What is missing most from today's Catholic world is the awareness of the the musical shape of the liturgy - that essential structure of what is supposed to take place in the Roman Ritual itself.