The message that resonated this  Wednesday, August 19,  in St. Peter’s Basilica leaves no room for ambiguity. Leo XIV has put his finger on the sore spot of one of the shortcomings of contemporary parishes: sacred music. Far from being a mere formality to liven up Mass or background music to fill silences, music in the liturgy is, as the constitution  Sacrosanctum Concilium states , a “necessary and integral part” of the solemn celebration.

In a catechesis with a true pastoral pulse, the Pope has issued a strong warning to composers, choirs and parish priests: enough of simplistic songs, bland texts and passing fads. 

Singing is not decorating, it’s praying

“Singing is proper to one who loves,” Leo XIV reminded us, quoting St. Augustine ( Cantare amantis est ). Liturgical music does not seek to entertain or showcase the soloist, but to stir the heart of the assembly and attune it to God. When a community sings together, overcoming differences, the Church experiences a true epiphany of ecclesial communion. 

However, for that communion to be real, the music demands nobility. The Pope insists: simple yet elevated melodies, capable of engaging all the people without falling into vulgarity, emptiness, or superficial improvisation. 

Lex orandi, lex credendi : the rigor of faith

One of the most emphatic points raised by the audience was the emphasis on the lyrics. The ancient principle  lex orandi, lex credendi  —the law of prayer is the law of faith—demands that the texts draw directly from Sacred Scripture, Tradition, and liturgical books. Watered-down or theologically ambiguous songs have no place in the celebration. 

Sublimity versus parish reality

This raises an uncomfortable question: if the purpose of sacred music is to lend greater sublimity to solemn celebrations, what happens at daily Mass? In many of our parishes, where there is no  choir  or technical resources, one must question whether the constant use of music that aspires to be “sacred” without the necessary means truly dignifies the liturgy or whether, on the contrary, it ends up trivializing the mystery we seek to highlight. Often, the ambition for solemnity without the appropriate means produces a counterproductive effect. 

From Gregorian chant to sacred silence

The Pope reaffirmed the primacy of Gregorian chant and the enduring tradition of the organ, while leaving the door open to other traditional genres, provided they contribute to dignity and strengthen the faith. He also emphasized that active participation does not consist of constant noise, but rather a harmonious balance where singing frequently gives way to sacred silence. 

Beyond the Mass: the danger of “background music”

This requirement for silence must extend beyond the liturgy. It is common to find constant background music in many parishes outside of liturgical times. Although the intention may be good, this ambient noise is bothersome to those who enter the church seeking contemplation.

Music, the Pope reminds us, cannot become a mere functional accompaniment, like that in a waiting room or a dentist’s office. It must be something so sublime that it lifts the soul to God. When music loses this height, far from helping, it interferes with the personal encounter with Christ in the Eucharist. 

The unresolved issue in Spain: is it better to remain silent?

This papal warning touches on a very concrete reality in Spain. Those who attend Mass in other countries perceive a higher level of sensitivity and formation. It is admirable to see how foreign congregations effortlessly sing Latin pieces of great liturgical value, while in our own country, such a scene feels unattainable. This gap confronts us with a real risk: perceiving the recovery of musical excellence as a demodernization of worship, a step backward in the face of the advances of inculturation. 

It is undeniable that we have made progress—the brilliance of the World Youth Day choir or the polyphony of the Montserrat Choir School are proof of that. But in the day-to-day life of the parish, the lack of training has a bitter effect: repertoires, rich in essence, end up sounding “tinny” due to faulty execution or excessive passion that clashes with the congregation. 

As someone who sang in and directed choirs during my university years, I know well the effort required for harmony, and this lack of preparation pains me deeply. The Pope calls for the promotion of  scholae cantorum . But until such training is a reality, an uncomfortable question must be asked: isn’t it more respectful to maintain a noble silence than to disfigure the liturgy with an out-of-tune performance, however passionate? Without well-prepared choirs, dignity demands courage: sometimes, the best thing is simply not to sing. 

Leo XIV concluded by invoking the image of Saint Ignatius of Antioch: the Christian community must be a single choir, singing in unison. A direct challenge for our churches: to recover the beauty, rigor, and solemnity of song so that, when it resounds in our temples, faith may once again touch the very depths of our souls.