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Henry Rye

MLA Research Essay

Ms. Barrett

1 October 2021

Why Traditional Sacred Music Should be Preserved

(1) It is no secret that traditional Sacred music has seen a decline over the past century. In a Pew

Research Center survey, “65% of American adults describe themselves as Christians when asked about

their religion, down 12 percentage points over the past decade. Meanwhile, the religiously unaffiliated

share of the population, consisting of people who describe their religious identity as atheist, agnostic or

“nothing in particular,” now stands at 26%, up from 17% in 2009.” (“In U.S.”) This decline in Christians

of all backgrounds means a reduction in church membership, and thus a reduction in giving to support the

churches. As a result, churches may be operating under a limited budget, with less funds appropriated to

their music department, if they have one. Also, in an effort to attract more new, young members to their

congregations, many churches have incorporated modern musical mediums, such as Christian Rock, into

their worship services, neglecting traditional musical forms such as Gregorian Chant, Hymns, Sacred

polyphony, and Chorales. These forms, some of which are more than a thousand years old, are hugely

important historical pieces of art, since they have supported worship in the church for a millennium and

formed the foundation for one of humanity’s greatest achievements, organized sound, from which

everything ranging from Bach to the Beatles has sprouted. Indeed, music as we know it may have not

been created if not for the efforts to improve Sacred music throughout the Renaissance that led to

revelations in harmony, melody, and counterpoint. Traditional Sacred music is an important part of our

history, our culture, and Christianity, and it must be preserved.

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(2) Before discussing in greater detail the issues facing modern Sacred music and their potential

solutions, it is pertinent to describe the history of Sacred music more specifically. To do this, it is best to

start at the very beginning, with Gregorian Chant. Gregorian Chant has been in use within Catholic

churches since the seventh century AD, when Pope St Gregory the Great organized a more uniform

version of the Roman plainchant, which was even older. (Achikeh and Umeogochukwu 138) Gregorian

Chant is monodic, sung in unison with men and women singing within their own ranges. It uses a

medieval style of musical notation called Neums, which share similarities with modern notation but have

significant differences as well. Gregorian chant also does not conform to any fixed meter or rhythmic

pattern, with the notation serving as simply an expressive guide. (Achikeh and Umeogochukwu 139) The

next historical marker for Sacred music was the development of polyphony (music with multiple

melodies sounding simultaneously) as opposed to monodic Gregorian Chant. As Cordis-Mariae Achikeh

and Raphael Umeogochukwu said, “The Church's vast collection of polyphonic songs - usually called

motets -grew out of Gregorian Chant in the Late Middle Ages (1100-1400 AD). […] It developed further

in the Renaissance (1400 -1600 AD), owing to the works of composers such as Tomas de Victoria,

Orlando de Lassus, and also Giovanni Perluigi de Palestrina, who is the best-known composer of

polyphony, and whom Pope Pius X praised in his 1903 motuspropio called Tra le Sollecitudini.”

(Achikeh and Umeogochukwu 139) As for instrumental music, the church of the Middle Ages was not

very kind to it, mostly because of its association with pagan rituals. Gradually, instruments made their

way into the church, led by the grand pipe organ. Around 1100 AD, however, the pipe organ was not the

sophisticated work of art it is today. It was primarily operated similarly to a carillon, with heavy fist

blows used to play it. (Achikeh and Umeogoschukwu 139) There was also little refinement to the sound,

as the method of stopping individual ranks of the Blockwerk, or full mixture sound, had not been invented

yet. Eventually, with the advent of tracker key action (mechanical key action similar to what a piano feels
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like), and draw-knobs that could stop some ranks from speaking, the organ evolved into a flexible

instrument that could play polyphonic music.

(3) With a basic grasp of Sacred music’s history, the next step is to identify the purpose of Sacred

music in worship. As William Mahrt said, “The purposes of music should be stated clearly; I would say

that there are two overriding purposes: to make the liturgy more beautiful and to emphasize its sacred

character.” (Mahrt) “Liturgical music never dominates, but serves. […] Sacred music imparts spiritual

truth to one’s mind, heart, and soul. It displays a dimension of meaning that mere words cannot” (“The

Importance”) Since liturgical music exists to serve a purpose in worship, the basic role of a liturgical

musician should be to utilize music to fulfill this purpose. (Achikeh and Umeogochukwu 146). Thus, the

role of the Liturgical musician becomes apparent as a driving force for good sacred music.

(4) As it will be shown, the well-trained Liturgical musician is a central dynamo for creating a

truly beautiful worship experience, which is why the spiritual importance of Sacred music cannot be

understated. As Achikeh and Umeogochukwu said,

“Since music has the power to emphasis more what words cannot say, it is only beautiful that an

informed liturgical musician harness this power to positively affect the lives of the people at his disposal

who will in turn in one way or the other affect the lives of people they meet elsewhere; it is all about

forming the human for the greater glory of God and for common good (Ad Majorem Gloriam Dei).”

(Achikeh and Umeogochukwu 149) Sacred music is also important because it can help develop our

connection to God within worship, (Achikeh and Umeogochukwu 136) improve the prayer experience,

help unify the congregation in worship, make the sacred rites more solemn, (“The Importance”), and

define the character of an action as sacred. (Mahrt)

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(5) Sacred music has psychological benefits in addition to spiritual ones. As Matt Bradshaw,

PhD, of Baylor University’s Department of Sociology, says, “Religious music might be one of the most

valuable and easily accessible religious resources available to older adults.” (Bradshaw, et al. 962)

“Findings suggest that the frequency of listening to religious music is associated with a decrease in death

anxiety and increases in life satisfaction, self-esteem, and a sense of control across the 2 waves of data.

[…] These associations [of religious music to mental health] are similar for individuals of all

backgrounds.” (Bradshaw et al. 961) In addition, research has shown that there is a correlation between

listening to music and reduced anxiety, blood pressure, pain, improved mood, mental alertness, memory,

and sleep quality. Since music is so complex, human brains have to work hard to make sense of the

architecture, mathematics, and relationships between consecutive notes. (“Keep”)

(6) If Sacred music has so many clear benefits and so much artistic history, why is decreasing in

quality?

(7) The issue could be a variety of things. It could be a lack of church musicians well-educated in

the purpose and importance of church music as articulated above. (Achikeh and Umeogochukwu 140) It

could also be the misuse of a process that the Catholic church has used since Vatican II that incorporates

suitable elements of the local culture into the liturgy. This process is known as Inculturation. (Achikeh

and Umeogochukwu 142) The most common example of this is the tradition of Catholic mass being

celebrated in the language of each country. As a result, composers would then combine elements of their

culture with elements of the liturgy, “all to the glory of God.” (Achikeh and Umeogochukwu 142) While
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there is nothing inherently wrong with this, inculturation was never meant to damage Sacred music’s

beauty. (Achikeh and Umeogochukwu 142)

(8) Another issue could be confusion surrounding what kind of music is proper within the liturgy.

Simply stated, “Only music that is truly beautiful should have a place in the liturgy.” (Mahrt) This quote

is offensive, as it denounces music that simply does not belong in church as not beautiful. It is better to

phrase it as “Only music that is appropriate for liturgical use should have a place in the liturgy.” Mahrt

gives a good illustration of this, saying, “I once heard a Beethoven piano sonata played during Mass. I

was astonished to realize just how vividly it recalled a place, and the place was the home. The music is

domestic—house music. I would not have anticipated how incongruous it seemed to hear it in church.”

While no reasonable person would call a Beethoven sonata ugly, the secular baggage it brings with it

makes it feel out of place.

(9) How then could we help fix some of the issues with modern sacred music so that we can

preserve it for the future? One aspect of this proposed solution is clearly establishing what types of music

are appropriate for liturgical use.

“The tradition of Roman documents establishes a clear hierarchy. Gregorian chant has pride of

place; classical polyphony has a privileged role. It is because styles carry with them associations and even

evoke a place—the style of a Broadway show tune evokes the theater; the style of cocktail music evokes

the cocktail bar, yet we hear these styles in church.” (Mahrt)

“The Roman Catholic Church holds the Gregorian chant in great esteem and sees it as the highest

model of Church music; above all other musical styles that have surfaced over the centuries.” (Achikeh

and Umeogochukwu 137) In addition to these, hymns, chorales, and polyphonic anthems are important
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for Protestant churches as they are the Protestant version of sacred polyphony. As far as instrumental

music goes, the Pipe Organ is the only one to be permitted by name by Vatican II, because of how it

festoons liturgical rites. (Achikeh and Umeogochukwu 140) It is also possible that the organ is the only

permitted instrument because, like how an orchestra recalls the concert hall, it recalls the church in our

minds and focuses our mind on sacred things. As a result, inculturation should be freely employed, as

long as it remains within the boundaries outlined above. For example, it is perfectly acceptable to have a

mass setting in Swahili, as long as it is written within the boundaries of sacred polyphony.

(10) Another important aspect of this solution is to improve the general education of the liturgical

musicians.

“Liturgical musician can come in different ways such as a composer, music director, and choir

master. It is at this level that the choice of the music to be used in the liturgy is made either as a composer

who wrote the music or as the music director or choir master who directs and teaches the song. […] It is

highly expected for the people at this level to have a good grasp of the necessary skills accordingly

ranging from the skill of a composer to be able to bring forth music that richly reflects Holiness, Artful

Beauty and Universality” (Achikeh and Umeogochukwu 147) Also, since the liturgical musician is so

important in order to produce good Sacred music, they should be exposed through seminars and/or

workshops to liturgical music documents that articulate what is proper for liturgical music. (Achikeh and

Umeogochukwu 133)

(11) Finally, congregational understanding of Sacred music is essential to a good and true Sacred

music program. “While it is important to suit the music to the needs of the congregation, an important

need on the part of most congregations is to be educated in sacred music, to have their taste formed for

the higher sorts of music truly suited to the liturgical action.” (Mahrt) It is also important to consider why
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a hymn, choir anthem, or motet has been chosen. Music should not be chosen simply because we like it,

but because it helps communicate theology, the readings and themes of worship, and the liturgy more

expressively. (Achikeh and Umeogochukwu 149) Another common concern is that traditional music is

too difficult for the average congregation. When faced with this issue, liturgical musicians and clergy

would do well to remember this quote, “Our relationship with God is one of love, and whether we sing

loudly or softly, on pitch or out of tune, sing!” (“The Importance”)

(12) As churches see declines in membership, it would benefit them to remember what has

successfully supported worship for nearly 1500 years. As the world spins into the future, it is important to

never lose sight of how we got to the present. “The musical tradition of the Church is a treasure of

immeasurable value.” (“The Importance”) If the musical tradition of the church is allowed to die out, it

would be akin to the largest art museums in the world burning to the ground. If the world does not

recognize the disrepair of modern Sacred music, this statement will inch closer and closer to reality.

Hi Henry!!! Overall, I really loved your essay! It was very eye-opening because it was not a subject that

was familiar to me. Your whole essay seemed very well research and persuasive. I thought all of your

arguments were definitely supported with evidence, however, throughout your essay, you had some very

long quotes that limited some opportunities for me to hear about you own thoughts on the topics you

covered in your body paragraphs. Anyway, a lot of your sentences, especially in the introduction and

conclusion, were so amazingly written and incredibly powerful in persuading me.

- Kate (17)
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Works Cited:

Achikeh, Cordis-Mariae, and Raphael Umeogochukwu. “The Value of Good Liturgical Music.” Unizik

Journal of Arts and Humanities, vol. 20 no. 3, Nnamdi Azikewe University, 2019, pp. 133-150. African

Journals Online, 30 Oct. 2020, www.ajol.info/index.php/ujah/article/view/201060.

Bradshaw, Matt, et al. "Listening to Religious Music and Mental Health in Later Life." The

Gerontologist, vol. 55, no. 6, The Gerontological Society of America, Dec. 2015, pp. 961-971. Oxford

UP, 14 Apr. 2014, academic.oup.com/gerontologist/article/55/6/961/2605451.

Mahrt, William. “Toward a Revision of Music in Catholic Worship.” Musica Sacra, Church Music

Association of America, Spring 2007, musicasacra.com/commentaries/mcw/.

“The Importance of Music and Singing.”, Liturgical Minutes, no. 10, stjosephbcs.org/documents/Mass

%20Changes/LM/LM%2010%20--%20The%20Importance%20of%20Music%20and%20Singing.pdf

“Keep Your Brain Young with Music.” Johns Hopkins Medicine,

www.hopkinsmedicine.org/health/wellness-and-prevention/keep-your-brain-young-with-music

“In U.S., Decline of Christianity Continues at Rapid Pace” Pew Research Center, 17 Oct. 2019

https://www.pewforum.org/2019/10/17/in-u-s-decline-of-christianity-continues-at-rapid-pace/
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