I know very little of Rembert Weakland, former Archbishop of Milwaukee, other than the controversy in recent years over the destruction and modernizing of his Cathedral, and his disgraceful resignation last year. Imagine my surprise when I encountered this article from the Feb. 20, 1999 issue of America, in which he gives what I would consider a very balanced account of the state of liturgical reform. Regarding liturgical music, this passage stood out:
Finally, one should mention the nature of the music and the disagreements about its quality after Vatican II. Some might say that this is only a matter of taste, but the church has always seen a deeper relationship between word and music that takes it out of the question of taste and puts it on the level of the very nature of liturgy itself. Unfortunately, most of the new music created for the liturgy has been and continues to be trite in both musical form and text, more fit for the theater and the pub than for church. Music is one area where the market has been in command and not the reformers. New music of limited value and with no one in charge of "quality control" keeps being introduced, so that there is little stability and a general ennui among the people. Children learn no consistent repertoire of liturgical music that belongs to the Catholic tradition and that will serve them for their whole lives. Are our people being asked to sing too much new music that does not enhance the nature of liturgy, that is of poor quality and that does not begin to form a standard repertory that will be long-lasting?If he, whom I thought to be one of the most progressive-minded bishops around, is advocating stability in the Liturgy, maybe other progressives will see the wisdom in his advice. Once we can agree there ought to be stability in liturgical music, then we can have a meaningful discussion on what that stability ought to entail.Music is but one aspect of the influence of contemporary American culture on the whole nature of liturgical worship. One could ask if the models injected into worship have kept in mind the specific nature of worship and the "sacred" qualities S.C. called for. Has music, instead, tended to be inspired by the theater, the concert stage and by models from entertainment and religious programming on television?
