Abstract

In the first part of the essay, a necessary distinction is made by a conception of 'liturgical animation' borrowed from the world of entertainment or touristic animation and an idea of liturgical music that can respect the nature of religious celebrations, allowing and even encouraging the encounter with the sacred sphere. It turns out that the search for novelty has brought about a neglect of the principal aim of Christian art, with the result that the new liturgical music seems for the most part to be generated not by the experience of those who propose it, but by the demand (real or presumed) of the 'audience'. The culprits are not the musical genres themselves but those who neglect the true nature of religious celebrations. The genres can indeed be varied (within reasonable limits), according to the occasion and the composition of the Christian community, provided that the aim of the celebration is constantly borne in mind. It would help, therefore, to maintain a close connection with the teaching and tradition of the Church. The second part of the article examines the contribution given by the Christian (pop) singers to the formation of the post-conciliar musical repertoire. The phenomenon of Christian pop singers, which still flourishes, appeared already before Vatican II and is generally connected with the birth of the 'movements' within the Church. The article then draws on the author's personal experience to document the characteristics and dynamics with which the repertoire is spread.