VERY PIECE OF MUSIC we sing at Mass must have a purpose. It’s neither chosen at random nor meant to mirror the world around us. Rather, the Church teaches that sacred music is part of the liturgy itself—not mere decoration or background sound, but a form of prayer that draws us into the mystery of God. As the Second Vatican Council reminds us, sacred music is “a necessary or integral part of the solemn liturgy” (SACROSANCTUM CONCILIUM, 112). Throughout Scripture, we see that authentic worship involves gratitude and recognition of God’s saving power through song. The Psalms constantly exhort us: “Sing to the Lord a new song, for He has done wondrous deeds” (Psalm 98:1). Sacred music gives voice to this same response—it’s the sound of thanksgiving and awe before the Lord who heals and saves.
Pride Of Place • Pope Saint Pius X taught that sacred music must be holy, true art, and universal, possessing “nothing profane” while elevating the mind to heavenly things (INTER PASTORALIS OFFICII, 1903). The 1967 instruction Musicam Sacram reaffirmed that its purpose is “the glory of God and the sanctification of the faithful” (MUSICAM SACRAM, 5). Because the liturgy itself is set apart—it’s the manifestation of heaven on earth—its music must sound distinct. Each hymn or chant is chosen to reflect the readings, prayers, and spiritual theme of that particular Mass, rather than the world’s passing concerns. The Church gives pride of place to Gregorian chant and her treasury of hymnody because they’re deeply rooted in Scripture and theology. They teach, sanctify, and express the faith according to the Church’s Magisterium. As the late Pope Francis reminded us, sacred art “should never aim merely to entertain, but to help the faithful encounter the beauty of God” (DESIDERIO DESIDERAVI, 2022). You can read more about the Church’s vision for sacred music in the Vatican’s official documents at the Vatican Website.
By Way Of Contrast • On the other hand, many modern “church songs” found in popular missals like Breaking Bread and Heritage Missal—though heartfelt—present several theological and liturgical concerns. One can find many examples in hymnals published by companies purporting to be Catholic. It’s difficult to understand how these songs received approval. For example, the following was printed in a 2013 hymnal by OCP, and says “Published with the approval of the Committee on Divine Worship, United States Conference of Catholic Bishops” in the front of the book.
* PDF Download • HERETICAL HYMN (OCP © 2013)
—Published in a 2013 Oregon Catholic Press Hymnal.
Notice how that ‘hymn’ explicitly says:
Like the bread, we are taken.
Like the Christ, we are blessed.
On this altar, we are broken,
given as food that all might live.
Anyone with basic familiarity with Catholic theology could easily point to 6-7 pernicious ideas presented in that short text. It’s difficult to see how a faithful Christian could sing it without taking part in sin. I would ask the reader to consider three more reasons we must be vigilant in this area:
First, there’s the issue of focus—many of these songs center on us rather than on God. They emphasize our feelings, our journey, and our community, often using phrases like “we gather together” or “our gifts we bring.” While community is important, the liturgy is primarily about worshiping God, not celebrating ourselves. Looking through the ancient hymns of the Church, I was astounded to see how rarely the ‘assembly’ is mentioned. (The only real exception I could find was Ubi cáritas from MAUNDY THURSDAY.)
Second, these songs frequently mimic the styles and rhythms of contemporary popular music—folk, rock, or pop ballads. This creates a problem: when sacred music sounds indistinguishable from secular music, it fails to create the sense of transcendence that should mark our worship. The rhythm of a radio hit doesn’t elevate our minds to heaven; it keeps them firmly planted in the world we just left outside the church doors.
Third, some of these songs risk theological imprecision. They often speak of the Eucharist as “bread and wine” or mere symbols, use vague language about God’s presence, or reduce the mystery of salvation to emotional experience. This reductionist approach is contrary to the Church’s teaching regarding transubstantiation, which states that at the moment of consecration, the substances of the bread and wine are truly, really, and substantially changed into the Body and Blood of Jesus Christ (Council of Trent, Session XIII, Chapter IV, 1551). Our music must reflect the precision of our faith, not dilute it for the sake of accessibility or emotional appeal.
Going Deeper • When we sing hymns and chant together, we do more than create harmony. We participate in something ancient and eternal—the same song of praise that echoes through Scripture, from the Psalms of David to the heavenly worship described in Revelation. We unite our voices in gratitude and proclaim, with the saints and angels: “Holy, holy, holy is the Lord God of hosts” (Isaiah 6:3; Revelation 4:8).
Not Entertainment • The Church’s sacred music isn’t meant to be comfortable or familiar in a worldly sense. It’s meant to be holy—set apart, beautiful, and worthy to worship the Creator of the Universe. When we embrace the Church’s treasury of sacred music, we’re not rejecting modernity or being elitist. We’re simply recognizing that the liturgy deserves music as transcendent as the mystery it celebrates. The next time you sing at Mass, listen carefully to the words and the melody. Ask yourself: does this song draw my heart to heaven, or does it keep me focused on myself? That’s the difference between a hymn and just another song.
Addendum • I want to be clear about what I’m not arguing for in this article. I’m not advocating for the typical 5-hymn layout adopted by many Novus Ordo parishes, nor am I suggesting that hymns should replace the proper chants of the Mass—the Introit, Offertory, and Communion antiphons. The liturgy’s propers are irreplaceable, and singing them would certainly be the ideal standard we should strive toward. However, this article is meant to offer catechesis on the Church’s teaching regarding sacred music and to inspire parish communities to take a crucial first step: replacing modern “church songs” with authentic hymns and chant. While it may not be the ultimate goal, choosing traditional hymns over contemporary songs found in some modern hymnals is already a major improvement and first step towards achieving this.
