Something for the weekend. Palm Sunday Gregorian Chants. Holy Week is our lives writ in Eternity. We begin with a burst of joy in our birth, and as sure as we were born we die, with the sorrow that death inevitably brings. Thanks to Our Savior Christ, that is not our end, and we can share with him the everlasting joy of Easter.
Last week National Public Radio ran a story called “Narcissism on Rise in Pop Music Lyrics.” It opened up with,
On this very day in 1985, the number one song on the Billboard Top 100 was…”We Are the World” (“We are the world. We are the children.”) Fast-forward to 2007 when Timbaland’s “Give It to Me” featuring Nelly Furtado topped the charts: “…love my a$$ and my abs in the video for ‘Promiscuous.’ My style is ridiculous.”
So more than two decades ago, we were holding hands and swaying to a song of unity, and these days, we’re bouncing to pop stars singing about how fabulous they are. Psychologist Nathan DeWall has had the pleasure of listening to it all for research, and he found that lyrics in pop music from 1980 to 2007 reflect increasing narcissism in society. And DeWall is an associate psychology professor at the University of Kentucky.
Dr. DeWall proceeded to explain:
I was listening to a song that, really, one of my favorite bands, Weezer, had on one of their albums recently, and it’s called “The Greatest Man That Ever Lived,” and I kept wondering, who would actually say that out loud? “I am the greatest man that ever lived. I was born to give and give and give.”
The ironic thing is it’s a song about how I’m the greatest person in the world, but it’s to the tune of “‘Tis A Gift To Be Simple,” which is a song about humility. And so what I wanted to do, instead of relying on self-report measures of personality like narcissism, I wanted to actually go into our culture, our cultural products, which are tangible artifacts of our cultural environment. And so, for that, I thought maybe song lyrics would be a very good jumping-off spot.
What we found over time is that there’s an increasing focus on me and my instead of we and our and us. So, for example, instead of talking about love being between we and us and us finding new things together, it’s mostly about how, you know, for example, Justin Timberlake in 2006 said, “I’m bringing sexy back. Yeah. Them other boys don’t know how to act. Yeah.”
There is no doubt that DeWall is correct. Pop music is becoming more narcissistic. The broader, age old question is: Does art imitate life, or does life imitate art? The answer is probably some of both. Our culture is increasingly narcissistic. In the spirit of the NPR article, which was about music, I wish to propose a possible antidote for narcissism: the liturgy, specifically liturgical music.
Unfortunately, we must first distinguish between music that might be heard in any given liturgy and liturgical music, properly speaking. While the Catholic Church has been plagued with bad versions of the four-hymn sandwich for decades, the fact remains that Holy Mother Church has given us a liturgical hymnbook: The Graduale Romanum, In this book, one will find the ancient Gregorian chants. But what many will be surprised to find is that the Church has given us specific chants for every Sunday of the year in the places that we currently sing “hymns.” For any given Mass, there are prescribed chants for the Introit (think here of the “Opening Hymn” you are used to hearing), the Gradual (“Responsorial Psalm”), the Offertorio (“Offertory”), and the Communio (“Communion Song”). Most of these date back more than a thousand years. Of course, in the Graduale Romanum, one will find the chant written in Latin. However, vernacular versions of these exist. What is key is that the liturgical rubrics, while they permit hymns, call for a preference given to these chants. Vatican II itself held that the Gregorian chant tradition should enjoy a “pride of place” in our liturgies.
Why do I see this as an antidote for narcissism? The surest way to deal with this problem is to give people the sense that they are not the center of reality, nor are they the source. The Cartesian turn to the subject has flipped classical metaphysics on its head so that people come to view reality as what is in their own minds rather than what their minds encounter on the outside. The liturgy is a reality that is given to us, not one that is created by us. In fact, it is in the liturgy itself that we find our own fulfillment. When we go to Mass, we participate in reality itself, something that is much bigger than us. If we see the Liturgy as something that we fit into rather than something that fits into our lives, we can come to understand that we are not the center of reality: God is.
The problem is, as has been observed on several observations over the past decade, there is an increasing narcissism even within the liturgy itself: both priests and people come to think that the liturgy is something that can be created and recreated with the fickle winds of changing culture. In fact, the lack of narcissistic language in the new translation of the Roman Missal has been pointed out in comparison with the current, defective translation. Currently, there are several places in the texts that seem to order God to do certain things and to give a primacy to the people over the divine. The new translation, being more faithful to the Latin, has sought to correct many of these errors. What remains to be fixed is the same problem in the hymns that are often chosen for Sunday worship. Many of the modern hymns focus on man rather than God (think here of “Gather Us In,” or the ever-elusive “Sing a New Church Into Being”). Quite simply, these hymns are self-centered rather than God-centered.
Contrast this with the use of the Graduale Romanum. These chants have been given to us by the Church, each carefully constructed around sacred texts in order to serve as a sort of lectio divina for the readings of the day. Indeed, when Gregorian chant is properly performed, it seems as if it is not of this world. Part of that is due to the inherent structure of the music, for chant lacks a strict meter (though it has an internal rhythm of its own). Unlike a hymn, which marches forward towards a climactic conclusion, chant allows the listener to rest in contemplation, a mirror of the eternity which we, God willing, will experience someday. But another part is due to the words, which become primary (unlike modern pop music, where the words are often a later add-on to an already existing rhythm/chord structure).
Perhaps the most important point, however, is the fact that the music of the Mass inevitably (forgive the pun) sets the tone of the entire celebration. It stands to reason, then, if we employ a music that is provided for us by the Church (not to mention encouraged by the rubrics), then the people will better understand that the liturgy itself is given and not created. If they come to understand the liturgy, which is the objective center of reality, in this manner, then they will come to see that they are not the center of reality. Thus, my rapid fire, probably incomplete, but hopefully coherent, argument that an antidote for the rise in narcissism is Gregorian Chant. Save the liturgy, save the world.
A reader writes into Fr. Z to ask why Gregorian Chant is to be preferred at Mass to hymns like “Gather Us In” which the reader, a newly minted Catholic, happens to like. Fr. Z responds here, and the commenters also chime in with responses that hit the mark.
Fr. Z writes:
As a preamble, music for liturgical worship is not a mere add on or decoration. It is liturgical worship. Therefore the texts used should be sacred texts. The texts of those ditties mentioned in the question are not sacred, liturgical texts. They are not the prayer of the Church.
He then discusses the quality of the hymns under discussion. This is a more subjective argument. After all, there are people who think the hymns located in the Gather hymnal are quite extraordinary. I question the sanity of such people, but that’s neither here nor there. This is a country that consistently puts American Idol at the top of the ratings, so I’m obviously a bit out of the loop with my musical tastes.
Besides, even non banal hymns seem out of place in our liturgy. On Holy Thursday I attended Mass at St. Mathew’s Cathedral. As always, it was a beautiful, reverent, and yes, Novus Ordo liturgy. I don’t remember the entrance hymn. It was a nice hymn – something more fitting than one of the turds from the Gather hymnal. And yet there was something a bit off. It was a fairly upbeat hymn, and as Cardinal Wuerl incensed the altar it just felt jarring. Here is this solemn moment marking the beginning of the Triduum, and the accompanying music just does not fit what is happening up there in the sanctuary. It’s the sort of thing that just snaps you out of the moment, and that’s the problem.
The liturgy is prayer, not entertainment. The reason that these hymns are generally inappropriate, no matter the quality, is that they simply don’t fit in with what’s supposed to be happening. Instead of amplifying our prayers they drown them out. That’s why I find the incessant need to have some kind of music playing at all times whenever there is more than five seconds of silence so frustrating. You’ve all probably heard organists vamp when the hymn ends before the Priest has reached the sanctuary, or after Communion when not all have returned to their places. Why can’t he or she just let silence reign for a few minutes? Why is there such a need for constant noise, especially when it does not fit in appropriately with that moment in the liturgy?
I was inspired to transfer my brain goo to the computer screen over the last couple of hours. Here are the results. Here’s to a more fruitful discussion.
I haven’t talked extensively about why I rejected atheistic communism and made my way back to Catholicism. There were a number of reasons; being shown the logical and moral bankruptcy of materialism, the corruption I personally witnessed in the movement, the fact that I could never bring myself to really embrace any of the tenants of the cultural agenda, and so on. The idea of fighting for anything in a universe that did not, and could not care about the outcome of human events could no longer captivate me. I suppose some people are able to convince themselves of the possibility, even the certainty, of “goodness” in a reality that owes nothing to consciousness and will; to me, such a belief, no matter how comforting, would be a lie. And I cannot live a lie.
Little Drummer Boy is one of my favorite Christmas songs of all time and I surprisingly stumbled across the Celtic Woman version of this song. Celtic Woman is an all-female musical ensemble which I came across on YouTube earlier this year and they are delightfully good!
This version of the popular Christmas song has Gregorian chant in it, I’m not sure who scored this, but it works very well with Celtic Woman’s version of Little Drummer Boy.
Here is the original music by the Harry Simeone Chorale:
And finally here is the Vienna Boys Choir rendition of this song:
My favorite line of the song is “then He smiled at me“.
Gets me every time.
Long live Christ the King!
Have a blessed Christmas.
This past Summer a conference took place on the shores of Lake Michigan on reinvigorating the use of Gregorian Chant in our liturgies. The Reform of the Reform continues.
(Biretta Tip: New Liturgical Movement)