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.