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Recently I made a post on the Moravian liturgy, specifically, a link to a subset of the materials in their 1994 Book of Worship, and newer liturgical resources. That it is a subset, and not what our British friends here on ChristianForums might call “the whole hog” is of course due to the hymns it contains, and more specifically, the current, contemporary language settings od these hymns, being under strictly enforced copyright, which is often the case, and in my opinion it is an unfortunate coincidence that many denominations, including the largest Protestant denomination, the Southern Baptist Church, and the largest Mainline Protestant denomination and the largest of the “Seven Sisters”, the United Methodist Church, are headquartered in Nashville, Tennessee, which also remains home to much of the music publishing business and especially Christian music publishing industry.
Now, to be clear, while I have no evidence that the UMC or SBC have been influenced by their proximity to it, I have encountered numerous complaints from Roman Catholics about how the superficially inexpensive Missalettes published each year by various Christian music publishers lock Catholic parishes into using and replacing, at great cost, the annual missalettes and corresponding hymnals published by these entities, which, combined with complaints about the poor quality of those hymnals and misalettes, and the lack of traditional Gregorian chant and traditional Western hymns which remain a fixture in Anglican and many Lutheran churches, such as Te Deum Laudamus, the Bishop of Marquette, Michigan in 2016 banned the Misalettes and set to implementing a diocesan hymnal, requiring all his parishes become competent in singing or chanting certain basic parts of the liturgy. This is also in keeping with the inspired directive of Pope Pius X mandating the restoration of Gregorian chant and establishing an official preference for it and the related polyphonic music composers like Byrd, Tallis, Palestrina, Vittoria, de Morales, Josquin, and the Flemish Masters. The non-traditional nature of the Misalettes, aside from the exploitative pricing, has been another criticism of the Music Industry I have heard from Catholics (and not just on New Liturgical Movement; I cite their articles as they are the most scholarly and well researched reflections of the views of a large number of proponents of traditional Roman Catholic liturgy across the internet, such as “Fr. Z” with his excellent blog “What does the Prayer really say?”, Fr. Hunwicke in the UK, and the very “trad” blog Rorate Caeli, among others.
This was from an era in which many of the least conventional settings of the mass were bombastic masses by Haydn, Mozart and Beethoven; St. Pius X, who I do recognize as a saint although I am not Catholic, would be horrified by the Praise and Worship and Christian Rock music which one now hears in Roman Catholic and Maronite Catholic parishes. Meanwhile, most of the other Sui Juris Eastern rites of the Roman Catholic Church, especially the Ukrainian Greek Catholics, the Italo Albanian Greek Catholics, the Syriac Catholics, the Chaldean Catholics, the Armenian Catholics, the Coptic Catholics, and the Ruthenian Greek Catholics, but not, sadly, the entirety of the Melkite Catholics, have retained liturgical standards akin to those desired by Pope St. Pius X, with only traditional music permitted in their services.
So, bearing in mind that music publishers continue to exploit financially, with what amounts to an enormous ripoff, in the form of the Misallette, the vast majority of Roman Catholic dioceses, despite having been caught at it, how much more might we suppose are they exploiting Protestants, both liturgical and aliturgical Protestants, especially mainline Protestants, where a prevailing sentiment is expressed in the 2009 PCUSA Hymnal “ Glory to God” that hymnals should be revised at least every 20 years (their previous hymnal and service books were revised in 1989/1990 and in 1974 - and I for one would be very happy with the Hymnbook and the Worshipbook of 1974, which were very well done), a sentiment which must be music to the ears of the music publishing industry, and also, even more to their advantage, non liturgical / contemporary worship / Non Denominational Protestants, particularly those non denominational Mega Churches which want the latest Christian Rock or Praise and Worship music.
Meanwhile, the Eastern churches get by with hymnals that are centuries old, and the average age of the hymns in the Greek, Syriac, Coptic, Georgian, Armenian, Ethiopian, Romanian, Bulgarian and Serbian Orthodox Churches, and the hymns of the Assyrian Church of the East, can be reckoned to be around 1200 years, if we exclude the Troparia and Kontakia composed every time a new Saint is glorified and added to the liturgical calendar, and also if we exclude the proliferation of variations on the Akathist hymn and which is not part of the primary liturgical cycle, but is rather a supplemental, devotional service, as well as new forms of the Paraklesis and related Slavonic Moleben services, which are basically supplicatory liturgies prayed as needed for the welfare of some or all members of a parish, for instance, if a family in the parish is injured in a car accident, or if a member is embarking on a dangerous journey, the congregation might do a moleben or paraklesis service to pray for those members after the Divine Liturgy, in addition to providing Holy Unction to the injured laity.
Now, to be clear, while I have no evidence that the UMC or SBC have been influenced by their proximity to it, I have encountered numerous complaints from Roman Catholics about how the superficially inexpensive Missalettes published each year by various Christian music publishers lock Catholic parishes into using and replacing, at great cost, the annual missalettes and corresponding hymnals published by these entities, which, combined with complaints about the poor quality of those hymnals and misalettes, and the lack of traditional Gregorian chant and traditional Western hymns which remain a fixture in Anglican and many Lutheran churches, such as Te Deum Laudamus, the Bishop of Marquette, Michigan in 2016 banned the Misalettes and set to implementing a diocesan hymnal, requiring all his parishes become competent in singing or chanting certain basic parts of the liturgy. This is also in keeping with the inspired directive of Pope Pius X mandating the restoration of Gregorian chant and establishing an official preference for it and the related polyphonic music composers like Byrd, Tallis, Palestrina, Vittoria, de Morales, Josquin, and the Flemish Masters. The non-traditional nature of the Misalettes, aside from the exploitative pricing, has been another criticism of the Music Industry I have heard from Catholics (and not just on New Liturgical Movement; I cite their articles as they are the most scholarly and well researched reflections of the views of a large number of proponents of traditional Roman Catholic liturgy across the internet, such as “Fr. Z” with his excellent blog “What does the Prayer really say?”, Fr. Hunwicke in the UK, and the very “trad” blog Rorate Caeli, among others.
This was from an era in which many of the least conventional settings of the mass were bombastic masses by Haydn, Mozart and Beethoven; St. Pius X, who I do recognize as a saint although I am not Catholic, would be horrified by the Praise and Worship and Christian Rock music which one now hears in Roman Catholic and Maronite Catholic parishes. Meanwhile, most of the other Sui Juris Eastern rites of the Roman Catholic Church, especially the Ukrainian Greek Catholics, the Italo Albanian Greek Catholics, the Syriac Catholics, the Chaldean Catholics, the Armenian Catholics, the Coptic Catholics, and the Ruthenian Greek Catholics, but not, sadly, the entirety of the Melkite Catholics, have retained liturgical standards akin to those desired by Pope St. Pius X, with only traditional music permitted in their services.
So, bearing in mind that music publishers continue to exploit financially, with what amounts to an enormous ripoff, in the form of the Misallette, the vast majority of Roman Catholic dioceses, despite having been caught at it, how much more might we suppose are they exploiting Protestants, both liturgical and aliturgical Protestants, especially mainline Protestants, where a prevailing sentiment is expressed in the 2009 PCUSA Hymnal “ Glory to God” that hymnals should be revised at least every 20 years (their previous hymnal and service books were revised in 1989/1990 and in 1974 - and I for one would be very happy with the Hymnbook and the Worshipbook of 1974, which were very well done), a sentiment which must be music to the ears of the music publishing industry, and also, even more to their advantage, non liturgical / contemporary worship / Non Denominational Protestants, particularly those non denominational Mega Churches which want the latest Christian Rock or Praise and Worship music.
Meanwhile, the Eastern churches get by with hymnals that are centuries old, and the average age of the hymns in the Greek, Syriac, Coptic, Georgian, Armenian, Ethiopian, Romanian, Bulgarian and Serbian Orthodox Churches, and the hymns of the Assyrian Church of the East, can be reckoned to be around 1200 years, if we exclude the Troparia and Kontakia composed every time a new Saint is glorified and added to the liturgical calendar, and also if we exclude the proliferation of variations on the Akathist hymn and which is not part of the primary liturgical cycle, but is rather a supplemental, devotional service, as well as new forms of the Paraklesis and related Slavonic Moleben services, which are basically supplicatory liturgies prayed as needed for the welfare of some or all members of a parish, for instance, if a family in the parish is injured in a car accident, or if a member is embarking on a dangerous journey, the congregation might do a moleben or paraklesis service to pray for those members after the Divine Liturgy, in addition to providing Holy Unction to the injured laity.
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