Great Quotations
Pope Benedict XVI
Whether it is Bach or Mozart that we hear in church, we have a sense in either case of what Gloria Dei, the glory of God, means. The mystery of infinite beauty is there and enables us to experience the presence of God more truly and vividly than in many sermons. But there are already signs of danger to come. Subjective experience and passion are still held in check by the order of the musical universe, reflecting as it does the order of the divine creation itself. But there is already the threat of invasion by the virtuoso mentality, the vanity of technique, which is no longer the servant of the whole but wants to push itself to the fore. During the nineteenth century, the century of self-emancipating subjectivity, this led in many places to the obscuring of the sacred by the operatic. The dangers that had forced the Council of Trent to intervene were back again. In similar fashion, Pope Pius X tried to remove the operatic element from the liturgy and declared Gregorian chant and the great polyphony of the age of the Catholic Reformation (of which Palestrina was the outstanding representative) to be the standard for liturgical music. A clear distinction was made between liturgical music and religious music in general, just as visual art in the liturgy has to conform to different standards from those employed in religious art in general. Art in the liturgy has a very specific responsibility, and precisely as such does it serve as a wellspring of culture, which in the final analysis owes its existence to cult. [The Spirit of the Liturgy, (SF, CA: Ignatius, 2000), pp. 148]
Not every kind of music can have a place in Christian worship. It has its standards, and that standard is the Logos. If we want to know whom we are dealing with, the Holy Spirit or the unholy spirit, we have to remember that it is the Holy Spirit who moves us to say, “Jesus is Lord” (Cor 12:3). The Holy Spirit leads us to the Logos, and he leads us to a music that serves the Logos as a sign of the sursum corda, the lifting up of the human heart. Does it integrate man by drawing him to what is above, or does it cause his disintegration into formless intoxication or mere sensuality? That is the criterion for a music in harmony with logos, a form of that logike latreia (reasonable, logos-worthy worship)… [The Spirit of the Liturgy, (SF, CA: Ignatius, 2000), p. 151]
St. Paul
Let the word of Christ dwell in you richly as you teach and admonish one another with all wisdom, and as you sing psalms, hymns and spiritual songs with gratitude in your hearts to God. Colossians 3:16
Speak to one another with psalms, hymns and spiritual songs. Sing and make music in your heart to the Lord, always giving thanks to God the Father for everything, in the name of our Lord Jesus Christ. Ephesians 5: 19-20
J.S. Bach
“The aim and final end of all music should be none other than the glory of God and the refreshment of the soul.”
“I have always kept one end in view, namely, with all good will to conduct a well-regulated church music to the honor of God”
Bruce Backer
“Hymns are a response to God. We sing our hymns to God who has rescued us. As we praise and thank him, we repeat the great things he has done for us. Hymns enable the believer to exercise his ministry. In hymns the universal priesthood is in action. As the believer addresses God, he lays the Word of God close to the heart of his brother by singing of the great things God has done.”
Rev. Klemet Preus
“The word liturgy, then, is a Bible word that refers to religious ceremonies and services rendered by God through His people, to His people. A church that says that it is not a liturgical church is, in fact, saying that it is not a bible church.”
The Fire and The Staff p.165
Leonard Payton
“Many Christians who appropriate the goods of popular culture cite Luther as a precedent. A common claim is that Luther used tunes “from the bar.” However, musicological research since 1923 is weighing in heavily for Luther as the composer of his own melodies. Luther did use a musical form called a “bar” form. But this is a technical term referring to the architecture of music, not, as would normally be expected, a place where alcoholic beverages are consumed. Others mistakenly cite Luther’s famous question, “Why should the devil have all the good tunes?” When Luther spoke of the devil metaphorically, it was directed at the pope, not the pub. To rephrase what Luther was saying, “Why should we leave the great old hymns to the Roman Catholics?” It was an apology for the traditional, not the contemporary!”
Reforming Our Worship Music p.205