The history of modern music is a history of deliberate rebellion and revolt against the great tradition of Western music. – Peter Kwasniewski
Source: Is There a Proper Role for “Contemporary” Music at Church? – The Imaginative Conservative
In which it is pointed out that “the music we employ in church always embodies and communicates an ecclesiology, a Christology, and an anthropology—it is that significant! There is no escaping it: Every bit of music we perform in church is expressing a vision of the whole and inculcating it in those who listen.”
Therefore the music which becomes part of the liturgy – the “worship experience,” if you will, though I dislike that terminology for its focus on the worshiper and not on the God who is worshiped – is not something extrinsic or incidental to that liturgy. It is, if used at all, intrinsic to the liturgy, for better or for worse: often, what is sung is often remembered better than that which is merely spoken. Therefore the music that we use matters, and matters deeply.
The author contrasts the Church’s tradition of adopting and “baptizing” elements of Pagan culture, including its musical traditions, with the situation in today’s world:
“Today’s Westerners, in contrast, are post-Christian aliens, estranged from their own history and the great cultural synthesis that could and should be theirs. The history of modern music, whether atonal or jazz or rock or pop, is a history of deliberate rebellion and revolt against the great tradition of Western music, against its high art forms, its slowly-developed musical language, its explicitly or implicitly Christian message. In its origins and its inner meaning, much of modern Western music is a rejection of the Catholic (and European) tradition.
“As a result, it is not morally, intellectually, or culturally ‘neutral’; it is already laden with an anti-institutional, anti-sacral, anti-traditional significance. This music is not naïve raw material waiting to be Christianized, but highly articulate anti-Christian propaganda. It rejects the ideals of lofty beauty and grandeur, spiritual seriousness, evocation of the divine, openness to the transcendent, and artistic discipline, in favor of vapidity, frivolity, profanity, sensuality, and banality.”
There are exceptions to this characterization, of course, but they are exceptions which, to my mind, prove the rule. There is more, of course – much more, and all of it worth reading. The modern world is obsessed with many things, but one of them is “relevance”: if a thing, be it music, liturgy, morality, etc., is not “relevant,” it is suspicious at best, easily-dismissed, at worst. Unfortunately, as this article points out, the result is that
“Today’s popular culture… to the extent that it has grown up in revolt against the unifying principles, certainties, and demands of Christianity, is a veritable melting pot of conflicting fashionable ideologies, a volatile mishmash of tribalism, globalism, and techno-barbarism. Its underlying anthropology is suited not for saints and heroes, but for narcissists and manipulators.”