Defending the Use of Guitars at Mass: A Harmonious Tradition Rooted in Faith

Defending the Use of Guitars at Mass: A Harmonious Tradition Rooted in Faith

The use of guitars in Catholic Mass has sparked debate among the faithful, with some viewing it as a modern intrusion on sacred tradition, while others see it as a vibrant expression of worship. This blog post defends the inclusion of guitars—and even drums—during liturgical celebrations, drawing on Church documents, Scripture, and cultural considerations. Far from being a departure from faith, the use of these instruments reflects a living tradition that adapts to the needs of the global Church, while critiques against them may sometimes reveal underlying xenophobic attitudes. Biblical Foundations for Musical Diversity Scripture provides a strong basis for the use of diverse instruments, including those with rhythmic qualities like guitars and drums. The Psalms, often used in liturgical settings, celebrate a wide array of musical expressions. Psalm 150:3-5 (NIV) exhorts, “Praise him with the sounding of the trumpet, praise him with the harp and lyre, praise him with timbrel and dancing, praise him with the strings and pipe, praise him with the clash of cymbals, praise him with resounding cymbals.” The “timbrel” (a type of hand drum) and “strings” suggest that rhythmic and melodic instruments were integral to ancient Jewish worship, which informs Christian liturgy. Similarly, 1 Chronicles 15:16 (NIV) describes King David appointing Levites to “make a joyful sound with musical instruments: lyres, harps and cymbals,” indicating that music, including percussive elements, was a divine mandate for worship. The New Testament further supports this adaptability. In Ephesians 5:19 (NIV), St. Paul encourages, “Speaking to one another with psalms, hymns, and songs from the Spirit. Sing and make music from your heart to the Lord.” This openness to spiritual songs suggests that the form of music—whether accompanied by ancient lyres or modern guitars—matters less than the intent to glorify God. Church Documents Embrace Musical Evolution The Catholic Church has long recognized the need for liturgical music to evolve with cultural contexts. The Second Vatican Council’s *Sacrosacraments Concilium* (1963), the Constitution on the Sacred Liturgy, provides clear guidance. Paragraph 116 states, “The Church acknowledges Gregorian chant as specially suited to the Roman liturgy; however, other kinds of sacred music, especially polyphony, are by no means excluded… [T]he pipe organ is to be held in high esteem… but other instruments also may be admitted for use in divine worship, with the knowledge and consent of the competent territorial authority” (Vatican II, *Sacrosanctum Concilium*, 116). This document opens the door for instruments like the guitar, provided they are used appropriately and approved by local bishops. Further, the *General Instruction of the Roman Missal* (GIRM), updated in 2011, reinforces this flexibility. Paragraph 393 notes, “In the dioceses of the United States of America… other instruments, especially the pipe organ, may be used… provided they are truly suitable for sacred use or can be made so” (USCCB, *GIRM*, 393). Guitars, widely used in Latin American, African, and Asian Catholic communities, have been deemed suitable by many bishops’ conferences, reflecting the Church’s inculturation principle—adapting liturgy to local cultures. Pope St. John Paul II also championed this inclusivity. In his 2003 document *Chirograph on Sacred Music*, he wrote, “The new musical expressions of the present time, in different regions of the world, must be attentively examined so that those forms which can be considered truly imbued with the spirit of prayer and worthy of divine worship may be admitted into liturgical use” (John Paul II, *Chirograph*, 2003). Guitars, often central to folk and contemporary Christian music, align with this vision when used to foster prayerful participation. Cultural Context and the Risk of Xenophobia The resistance to guitars and drums at Mass often stems from a preference for European classical traditions, such as organ music and Gregorian chant, which dominated Western liturgy for centuries. However, this preference can reflect a cultural bias, particularly when critiquing instruments associated with non-Western cultures. In Latin America, where the guitar has been a staple of Catholic worship since the missionary era, its use in Mass reflects a deep spiritual heritage—think of the vibrant *Misas Criollas* or the music of Cesar Franck. Similarly, in African and Asian Catholic communities, drums and guitars enhance liturgical expression, drawing from indigenous rhythms. Critics who decry these instruments may unintentionally reveal xenophobic tendencies, dismissing music from cultures outside the Eurocentric norm as “unfit” for worship. This attitude contradicts the Church’s missionary spirit, which seeks to embrace all nations. As Acts 2:5-11 (NIV) describes the Pentecost, people from every tongue and culture heard the Gospel in their own language—a precedent for embracing diverse musical forms. To reject guitars or drums outright risks alienating the global Church, where over two-thirds of Catholics now live outside Europe and North America. Practical Benefits and Pastoral Sensitivity Guitars bring practical advantages to Mass. They are portable, affordable, and accessible, making them ideal for small parishes, mission churches, or outdoor celebrations. Their versatility allows for a range of styles—hymns, praise songs, or Taizé chants—that engage younger generations and newcomers. Studies, such as those from the National Association of Pastoral Musicians (NPM), have shown that contemporary music with guitar accompaniment increases participation, especially among youth (NPM, *Music in Catholic Worship*, 1999). However, their use must be pastorally sensitive. The *Sing to the Lord: Music in Divine Worship* (USCCB, 2007), a guide for U.S. bishops, advises that instruments should support the liturgy’s dignity and not overshadow the Word (Paragraph 83). When guitars are played with reverence—tuned, amplified appropriately, and paired with sacred lyrics—they fulfill this role admirably. The use of guitars at Mass is not a betrayal of tradition but a continuation of the Church’s adaptive spirit, rooted in Scripture and supported by Church teaching. From the timbrels of Miriam to the guitars of modern parishes, music has always been a bridge between God and His people. Critiques that dismiss these instruments may reflect cultural biases rather than theological concerns, challenging the Church’s universal mission. As the liturgy evolves to reflect the global face of Catholicism, let us embrace the guitar—and even the drum—as tools of praise, ensuring they serve the sacred with humility and joy. **References** - Vatican II. *Sacrosanctum Concilium*. 1963. Vatican Archives. - United States Conference of Catholic Bishops (USCCB). *General Instruction of the Roman Missal*. 2011. - John Paul II. *Chirograph on Sacred Music*. 2003. Vatican Archives. - USCCB. *Sing to the Lord: Music in Divine Worship*. 2007. - National Association of Pastoral Musicians (NPM). *Music in Catholic Worship*. 1999. **Scripture Citations** - Psalm 150:3-5 (NIV) - 1 Chronicles 15:16 (NIV) - Ephesians 5:19 (NIV) - Acts 2:5-11 (NIV)