Recently, it was announced that the Diocese of Jefferson City, Missouri will implement a formal ban on the singing of certain contemporary hymns at Mass because of doctrinal inaccuracies in their lyrics as well as a blanket ban on music from three Catholic composers who have been accused of misconduct. Due to credible accusations of abuse against them, the banned composers are David Haas, Fr. Cesaréo Gabarain, and Ed Conlin.
It is understandable why the Church needs to distance herself from these songwriters. However, we must also consider whether a song can have merit regardless of its composer. There’s a strong argument for evaluating hymns based on their content rather than their creators. Casuistry, the evaluation of individual cases to resolve moral issues, could allow for such separation. For example, while I am not a fan of Fr. James Martin of late, I still promote his book A Jesuit Guide to Almost Everything as a great read on Ignatian Spirituality. While the songs of Haas, Gabarain, and Conlin may bring hurt to the victims, does anyone really look at who the author is when the cantor calls for us to sing “Song #454 on page 82” at Mass?
My wife and I once got into a discussion of songs on the radio that were playing while we were in the car. I turned off a song because I did not like the lyrics. My wife objected, because she liked “the beat and music.”
So, what is the USCCB’s issue with “All Are Welcome” by Marty Haugen; “God Has Chosen Me” by Bernadette Farrell; “Led By the Spirit” by Bob Hurd; and “Table of Plenty” by Dan Schutte? Are lyrics important?
“All Are Welcome” by Marty Haugen:
This song has an emphasis on inclusivity and welcoming all people might unintentionally downplay the importance of conversion, repentance, and adherence to church teachings. As such, this song may be construed the Church is open in a way that doesn’t align with the traditional understanding of needing to adhere to Catholic beliefs and practices. And yet, our Church if oftentimes weak in promoting our teachings on sexuality, cohabitation and gender.
“God Has Chosen Me” by Bernadette Farrell:
This song’s focus on social justice and the mission to serve the marginalized, while reflecting important aspects of the Gospel. It might be perceived as emphasizing activism over sacramental life. This doesn’t balance with themes of divine worship and the sacramental nature of Catholic identity. And yet, liturgical abuses are accepted at many popular parishes around the country.
“Led By the Spirit” by Bob Hurd:
This song reflects themes from the tradition of spiritual guidance and transformation, while lacking explicit references to central sacramental themes or ecclesiastical authority. We cannot separate personal spiritual journeys from the communal and sacramental life of the Church. And yet, Jesuits promote our “lived experience” as a standard for engaging theology.
“Table of Plenty” by Dan Schutte:
The imagery “of table” in this song does not reflect the sacrificial nature of the Eucharist and the real presence of Christ, choosing instead to focus on a communal meal aspect. And yet, don’t we publicly feign discussing our faith in communities who might disagree?
The Church is facing a culture war here – balancing contemporary expression and traditional doctrine in liturgical music. Younger generations are attracted to up-tempo music. Yet, “There Is a Balm in Gilead” is not on the banned list.
Why Not?
I cringe when I hear this song. It refers to a healing ointment mentioned in the Bible, known for its soothing properties. It often symbolizes spiritual healing and comfort, just like “Led by the Spirit.”
“There Is a Balm in Gilead” is a traditional African American spiritual, tracing its origins to the oral tradition among enslaved African Americans. It was meant to offer hope and consolation. Its use in Catholic liturgies reflects its capacity to express deep spiritual truths that are universally relevant, bridging different Christian traditions through its timeless message of hope and renewal. Nothing Eucharistic here… Ban the Balm!
I applaud the bishops for banning songs which may be deemed as inappropriate. So, do I call for a ban because it is not Eucharistic or because I don’t like the song?
Why isn’t “Amazing Grace” banned?
This hymn was written by John Newton in 1772. It emphasizes the transformative power of grace, which we agree, but not to the point of “sola gratia” (grace alone). Catholics believe in grace in combination with human cooperation and response through faith and works. Thus, the song diminishes the sacramental and communal aspects of salvation and to an impression of individualism in the experience of salvation. Personal reflection is valued, but not at the expense of the communal nature of worship and the Church as the Body of Christ.
Where do we draw the line?
Music has an undeniable role in drawing people into worship and maintaining their engagement, particularly among the younger generation. Herein lies a cultural tension: the Church must find ways to engage younger congregants without compromising its theological integrity.
Doctrinal inaccuracies in some contemporary hymns can inadvertently mislead the faithful. Too many churches now use contemporary Christian music in liturgy without regards to their relationship to Catholic teaching. According to the Catholic Missourian, Bishop McKnight issued the decree following a “thorough process of study and review” by the Diocesan Liturgical Commission as well as consultation with the diocesan Presbyteral Council, made up of priests who are ministering throughout the diocese. The bishop has a goal of encouraging “full, conscious, and active participation in the liturgy” through a common musical repertoire.
Great – how do we do this? Where is the list of approved “common musical repertoire” for our Catholic musical director to choose from?
If a book or bible can carry an imprimatur, why not a song? There is no authoritative guidance for music that is played on Sundays. Yet, the priest is limited in the Eucharistic prayers he can use, the readings are set as well as the prayers. The bride and groom can only pick from several approved readings at a Catholic wedding – why not a list of songs approved for a given Sunday? Music at Catholic liturgies has historically ranged from Gregorian chants to classical compositions by the likes of Mozart and Palestrina. Today’s Church must balance traditional doctrine with contemporary expression in liturgical music. Any list of approved music cannot solely contain “traditional” music but must address appealing to contemporary, younger generations. Church organs have a place in liturgical music but cannot continue to be instruments that drive the sheep away.
Until then, Ban the Balm!
