BLOGS/ARTICLES

THE PARABLE OF FARMVILLE

15 Lessons From Farmville

(Fr. Stephen Cuyos, MSC and Chester Roxas Cruzado)

Jesus spoke about the Word and the Love of God in the Bible by using the culture and language of the people at that time.  Thus, He used parables, metaphors and symbols which were very close to the hearts of the people then, so that they could easily understand them, relate with them and identify themselves with them.  Examples of which are the parables of the mustard seed, the fishing net, the wedding feast, the lost sheep, etc.  

If Jesus would become flesh again, and would speak to us about the Word and Love of God in the digital age, He would also use our language and culture to talk to us.  And so, He may even use the latest gadgets and technology that we have and the virtual games that we play to speak to us and to touch our hearts.  We have a very creative and innovative God!  He wants His message to be comprehensible, relevant, fresh and meaningful. This is Faith 2.0


When He was alone, the Twelve and the others around Him asked Him about the parables. He told them, "The secret of the kingdom of God has been given to you. But to those on the outside everything is said in parables so that,
   " 'they may be ever seeing but never perceiving,
      and ever hearing but never understanding;
   otherwise they might turn and be forgiven!' "
With many similar parables Jesus spoke the Word to them, as much as they could understand. He did not say anything to them without using a parable. But when He was alone with His own disciples, He explained everything.
(Mark 4:10-12, 33-34)

In this digital age, Jesus would even present to us a modern parable, the Parable of Farmville.  FarmVille is a Facebook game which allows members of the popular social network to plant, grow and harvest fruits and vegetables as well as raise animals on one’s virtual farm.    Here are 15 lessons that can be learned while tending your virtual farm.  

1.            There are always elements that will try to stifle your growth.  And so, growth takes time, efforts, patience and perseverance.  

2.           Grab every opportunity to level-up and grow.

3.           Believe in the goodness of others.

4.           Helping others will make you a better neighbor.

5.           The more gifts you give, the more gifts you receive.

6.           Discipline is doing the right thing in the right place at the right time.

7.           Share your triumphs with others.

8.           You need to work hard to get what you want and need.

9.           You do not become a Good Samaritan through a single act of kindness.

10.       You will harvest later what you plant now.

11.        There are many blessings that God has in store for you.

12.       The more blessed you are, the more responsibilities are entrusted to you.

13.       You are blessed for you to bless others too.

14.       Everything is grace.

15.       You are called to help the least, the last and the lost.

Share this with others.  May you continue to be sensitive and responsive to the voice of God in your life. This is Faith 2.0 God bless!

   DE USO MUSICAE SACRAE IN MISSA AD JUVENIS

    (On the Use of Sacred Music in a Youth Mass)

       January 27, 2010

           By Chester Roxas Cruzado

          Bachelor of Arts, Major in Philosophy (San Carlos Seminary)

      Master of Arts in Applied Theology (De La Salle University, Manila)

            A theology/teaching is formulated to address a certain problem, need and question of the people at a particular period.  According to Mysterium Ecclesiae, every theology is cultural and contextual.  Every theology is influenced, affected and shaped by the culture, language and paradigm of the people at a specific epoch.  Ergo, some teachings and theological statements in the past may not be applicable, sensible and relevant in the present era.  As the world progresses, theology evolves as well.  (e.g.  in the past, persons who committed suicide were not blessed by the priest; communion by the hand was not allowed; teaching on limbo was retracted by John Paul II; there was no first communion in the past, even babies were allowed to receive communion; pipe organ was the only instrument allowed in the Mass; Gregorian chant was the only type music allowed in the Mass; Latin was the only allowed language to be used in the Mass, not the vernacular; and many more) Musicam Sacram (Instruction On Music In The Liturgy) was created by the Catholic Church in 1967 (take note of the date) to address the needs and problems of the Church THEN.  Some teachings that are stated there may not anymore be applicable and relevant in the present context.  The time, culture, people, needs, paradigm and language of the people changed.

The following are excerpts from Musicam Sacram affirming the abovementioned statements.  Please take not of the highlighted texts.

        2. The decisions of the Council have already begun to be put into effect in the recently undertaken liturgical renewal. But the new norms concerning the arrangement of the sacred rites and the active participation of the faithful have given rise to several problems regarding sacred music and its ministerial role. These problems appear to be able to be solved by expounding more fully certain relevant principles of the Constitution on the Liturgy.

3. Therefore the Consilium set up to implement the Constitution on the Liturgy, on the instructions of the Holy Father, has carefully considered these questions and prepared the present Instruction. This does not, however, gather together all the legislation on sacred music; it only establishes the principal norms which seem to be more necessary for our own day.”   

The following are excerpts from Liturgicae Instaurationes (Instructions on Liturgy)

Sacred Congregation for Divine Worship Instruction on the orderly carrying out of the Constitution on the Liturgy, September 5, 1970

Please take note of the date it was created, and compare it with the date of composition of Musicam Sacram. This document may supersede the teachings in Musicam Sacram, since this was written later than that.

c. Congregational singing is to be fostered by every means possible, Even by use of new types of music suited to the culture of the people and to the contemporary spirit, most especially for special groups, for example, with youth or children, and that in text, melody, rhythm, and instrumentation are suited to the dignity and holiness of the place and of divine worship.

The Church does not bar any style of sacred music from the liturgy [13]. Still, not every style or the sound of every song or instrument deserves equal status as an aid to prayer and an expression of the mystery of Christ. All musical elements have as their one purpose the celebration of divine worship. They must, then, possess sacredness and soundness of form[14], fit in with the spirit of the liturgical service and the nature of its particular parts; they must not be a hindrance to an intense participation of the assembly [15] but must direct the mind's attention and the heart's sentiments toward the rites. 

9. In selecting the kind of sacred music to be used, whether it be for the choir or for the people, the capacities of those who are to sing the music must be taken into account. No kind of sacred music is prohibited from liturgical actions by the Church as long as it corresponds to the spirit of the liturgical celebration itself and the nature of its individual parts,7 and does not hinder the active participation of the people. (in this case, the youth)

     18. Among the faithful, special attention must be given to the instruction in sacred singing of members of lay religious societies, so that they may support and promote the participation of the people more effectively (most especially the youth).18 The formation of the whole people in singing, should be seriously and patiently undertaken together with liturgical instruction, according to The age, status and way of life of the faithful and the degree of their religious culture (most especially the youth); this should be done even from the first years of education in elementary schools.

The following are excerpts from different documents of the Church which state that the active participation of the faithful should be considered in choosing songs for the Mass.  In the case of a youth mass, the culture and language and interest of the youth matter.

“The full and active participation by all the people is the aim to be considered before all else, for it is the primary and indispensable source from which the faithful are to derive the true Christian spirit. (Sacrosanctum Concilium 14)

The Addresses of His Holiness Pope John Paul II to the Bishops of the United States, February

1998–October 1998 (Washington, DC: USCCB, 1998), no. 3.

70. The cultural context refers to the setting in which the ritual and spiritual dimensions come into play. Factors such as the age, spiritual heritage, and cultural and ethnic background of a given liturgical assembly must be considered (CULTURE OF THE YOUTH).

Since the Old Testament, they had been using band in praise and worship.   They made use of available instruments which correspond to their culture.  What are the available musical instruments which truly capture the culture of young people today?

However, from the days when the Ark of the Covenant was accompanied in procession by cymbals, harps, lyres, and trumpets, God’s people have, in various periods, used a variety of musical instruments to sing his praise.82 Each of these instruments, born of the culture and the traditions of a particular people, has given voice to a wide variety of forms and styles through which Christ’s faithful continue to join their voices to his perfect song of praise upon the

Cross.  (General Instructions of the Roman Missal), no. 393.

D. Judging the Qualities of Music for the Liturgy

The Three Judgments: One Evaluation

126. In judging the appropriateness of music for the Liturgy, one will examine its

liturgical, pastoral, and musical qualities. Ultimately, however, these three judgments are but

aspects of one evaluation, which answers the question: “Is this particular piece of music

appropriate for this use in the particular Liturgy?” All three judgments must be considered

together, and no individual judgment can be applied in isolation from the other two. This

evaluation requires cooperation, consultation, collaboration, and mutual respect among those

who are skilled in any of the three judgments, be they pastors, musicians, liturgists, or planners.

The Liturgical Judgment

127. The question asked by this judgment may be stated as follows: Is this composition

capable of meeting the structural and textual requirements set forth by the liturgical books for

this particular rite?

128. Structural considerations depend on the demands of the rite itself to guide the choice

of parts to be sung, taking into account the principle of progressive solemnity (see nos. 110ff. in

this document). A certain balance among the various elements of the Liturgy should be sought,

so that less important elements do not overshadow more important ones. Textual elements

include the ability of a musical setting to support the liturgical text and to convey meaning

faithful to the teaching of the Church (AS LONG AS THEY ARE NOT CONTRARY TO TEACHING OF THE CHURCH, AND THEY CONVEY RELIGIOUS THEMES, THE MAY BE USED).

The Pastoral Judgment

130. The pastoral judgment takes into consideration the actual community gathered to celebrate in a particular place at a particular time. Does a musical composition promote the sanctification of the members of the liturgical assembly by drawing them closer to the holy mysteries being celebrated? Does it strengthen their formation in faith by opening their hearts to the mystery being celebrated on this occasion or in this season? Is it capable of expressing the faith that God has planted in their hearts and summoned them to celebrate? (DOES CONTEMPORARY CHRISTIAN MUSIC MEET THESE? IF YES, WHY WILL THEY BE DISALLOWED IN RELIGIOUS SERVICES?)

131. In the dioceses of the United States of America today, liturgical assemblies are

composed of people of many different nations. Such peoples often “have their own musical tradition, and this plays a great part in their religious and social life. For this reason their music should be held in proper esteem and a suitable place is to be given to it, not only in forming their religious sense but also in adapting worship to their native genius. . . .”103

132. Other factors—such as the age, culture, language, and education of a given liturgical assembly—must also be considered (ESPECIALLY IN A YOUTH MASS). Particular musical forms and the choice of individual compositions for congregational participation will often depend on those ways in which a particular group finds it easiest to join their hearts and minds to the liturgical action. Similarly, the musical experience of a given liturgical assembly is to be carefully considered, lest forms of musical expression that are alien to their way of worshiping be introduced precipitously. On the other hand, one should never underestimate the ability of persons of all ages, cultures, languages, and levels of education to learn something new and to understand things that are properly and thoroughly introduced.

103 (no. 119)

133. The pastoral question, finally, is always the same: Will this composition draw this particular people closer to the mystery of Christ, which is at the heart of this liturgical celebration?

The Musical Judgment

134. The musical judgment asks whether this composition has the necessary aesthetic qualities that can bear the weight of the mysteries celebrated in the Liturgy. It asks the question: Is this composition technically, aesthetically, and expressively worthy?

136. Sufficiency of artistic expression, however, is not the same as musical style, for “the

Church has not adopted any particular style of art as her own. She has admitted styles from every period, in keeping with the natural characteristics and conditions of peoples and the needs of the various rites.”104 Thus, in recent times, the Church has consistently recognized and freely welcomed the use of various styles of music as an aid to liturgical worship.

(Sacrosacntum Concilium 123)

Q: What criteria should be used in judging the use of modern music in Mass? Is it OK to use Protestant songs? What criteria apply in those cases? — P.C., Honolulu, Hawaii

A: First it is necessary to recall that the choice of text and melody is not totally arbitrary but requires the use of properly authorized texts.


This should be taken into account in the case of Protestant hymns. They may be used in the liturgy provided they conform to Catholic doctrine. Any hymn that contains doctrine contrary to Catholic teachings, or is ambiguous, should not be used.

ROME, 11 NOV. 2003 (ZENIT).  EWTN

Answered by Father Edward McNamara, professor of liturgy at the Regina Apostolorum Pontifical Athenaeum

Nota Bene:  There’s nothing in the documents of the Church that disallows the use of songs, composed by Protestants, in the Mass.  “Give Thanks,” “I Offer My Life,” “The Lord’s Prayer,” etc. were composed by Protestants. 

Liturgical Music in the Philippines is now in ferment trying to find its identity amidst so much diversity. Composers from different linguistic and subcultural groups have composed music for the liturgy in the vernacular. The music has become ecumenical. It is not surprising that Lutheran, Anglican and Methodist hymns and even Baptist gospel songs as well as charismatic songs find their way into Catholic liturgical celebrations. It is not also unusual to hear music by Hontiveros, Francisco or other Filipino Catholic composers in the liturgical celebrations of other Christian communions. Today, Sunday liturgies, Catholic or Protestant, are alive with active participation of the assembly in a liturgy that is gradually being inculturated and acquiring Filipino features. Filipino Christians of various communions can now pray and sing together with songs whose provenance really does not matter provided that it proclaims their same faith in Christ, their common Redeemer and Saving Lord

Author: Manuel Maramba, OSB graduated with a Master of Music and an Artist’s Diploma in piano at the Peabody Conservatory of Music.

30. Singing must be given great importance in all celebrations, but it is to be especially encouraged in every way for Masses celebrated with children, in view of their special affinity for music. [26] The culture of various peoples and the capabilities of the children present should be taken into account.

32. The use of "musical instruments can add a great deal" in Masses with children, especially if they are played by the children themselves. [28] The playing of instruments will help sustain the singing or to encourage the reflection of the children; sometimes in their own fashion instruments express festive joy and the praise of God.

Care should always be taken, however, that the musical accompaniment does not overpower the singing or become a distraction rather than a help to the children. Music should correspond to the purpose intended for the different periods at which it is played during the Mass.

With these precautions and with due and special discretion, recorded music may also be used in Masses with children, in accord with norms established by the conferences of bishops.

Directory for Masses With Children
November 1, 1973 (take note of the date, this supersedes Musicam Sacram)
Congregation for Divine Worship

DOES THE CATHOLIC CHURCH ALLOW NON-LITURGICAL AND PROTESTANT SONGS TO BE USED IN THE MASS?

Yes, non-liturgical and Protestant songs may be used in the Mass, most especially if they meet the needs, speak the language, express the faith and increase the active participation of the people.  Sacred music should accompany and help the people to express their faith in the language and style that will best uplift their minds and spirits as they praise and glorify God.  The true purpose of sacred music is the glorification of God and the sanctification of the faithful. (Musicam Sacram 1967 No. 4).  “Protestant songs may be used in the liturgy provided they conform to Catholic doctrine.” (EWTN, Father Edward McNamara, professor of Liturgy)  “Today, Sunday liturgies, Catholic or Protestant, are alive with active participation of the assembly in a liturgy that is gradually being inculturated and acquiring Filipino features. Filipino Christians of various communions can now pray and sing together with songs whose provenance really does not matter provided that it proclaims their same faith in Christ, their common Redeemer and Saving Lord.”  (Manuel Maramba, OSB, Master of Music)  Any sacred/religious song may be used in the Mass as long as it does not contradict the teachings of the Church and the Gospel message.  Examples of Protestant songs that are used in the Mass, e.g., I Offer My Life, Give Thanks, Amazing Grace, etc.

Every theology is cultural and contextual.  Every theology is influenced, affected and shaped by the culture, language and paradigm of the people at a specific epoch.  Ergo, some teachings and theological statements in the past may not be applicable, sensible and relevant anymore in the present era.  As the world progresses, theology evolves as well.  (e.g., infants were allowed to receive holy communion; pipe organ was the only instrument allowed in the Mass; Gregorian chant was the only type of music allowed in the Mass; Mass should be said in Latin only, etc.)

Musicam Sacram is a document of the Church that focuses on Instruction on Music in the Liturgy.  It was issued by the Sacred Congregation for Divine Worship on March 5, 1967 to address the needs and problems of the Church at that time. 

“Therefore the Consilium set up to implement the Constitution on the Liturgy, on the instructions of the Holy Father, has carefully considered these questions and prepared the present Instruction. This does not, however, gather together all the legislation on sacred music; it only establishes the principal norms which seem to be more necessary for our own day." (Musicam Sacram 2-3) 

Ergo, some instructions in the aforesaid document may not be applicable and relevant in the present context.  The language, faith expressions, musical style and context of the present generation are different from the past generations.  And so, the Church issued other documents, which supersede the guidelines found in Musicam Sacram, to address new issues regarding music in the Mass.  The following are excerpts from Church’s documents supporting the use of non-liturgical music in the Mass  

“Congregational singing is to be fostered by every means possible, even by use of new types of music suited to the culture of the people and to the contemporary spirit.  The Church does not bar any style of sacred music from the liturgy.  All musical elements… must direct the mind's attention and the heart's sentiments toward the rites.  No kind of sacred music is prohibited from liturgical actions by the Church…” (Liturgicae Instaurationes 3, September 5, 1970)

“Singing must be given great importance…  it is to be especially encouraged in every way for Masses celebrated with children, in view of their special affinity for music.  The culture of various peoples and the capabilities of the children present should be taken into account.”  (Directory for Masses With Children, November 1, 1973 No. 30)

“The Church has not adopted any particular style of art as her own. She has admitted styles from every period, in keeping with the natural characteristics and conditions of peoples and the needs of the various rites…  the Church has consistently recognized and freely welcomed the use of various styles of music as an aid to liturgical worship. (Sacrosanctum Concilium 123)

DOES THE CATHOLIC CHURCH ALLOW BAND (OTHER MUSICAL INSTRUMENTS) IN THE MASS?

Yes, the Catholic Church allows the use of other instruments, aside from the pipe organ, in the celebration of the Mass.  The musical instruments should accompany and help the people to express their faith in the language and style that will best capture what is in their minds and hearts as they praise and glorify God.  Faith is well expressed through the culture and language of the people.  Musical instruments may vary depending on the culture and traditions of the people in a particular place at a particular time (e.g., drums and other tribal instruments are used in the Holy Mass at Papua New Guinea)  

“The cultural context refers to the setting in which the ritual and spiritual dimensions come into play. Factors such as the age, spiritual heritage, and cultural and ethnic background of a given liturgical assembly must be considered.  However, from the days when the Ark of the Covenant (in the Old Testament) was accompanied in procession by cymbals, harps, lyres, and trumpets, God’s people have, in various periods, used a variety of musical instruments to sing His praise.  Each of these instruments, born of the culture and the traditions of a particular people, has given voice to a wide variety of forms and styles through which Christ’s faithful continue to join their voices to His perfect song of praise upon the Cross.” (General Instruction of the Roman Missal, March 27, 1975, No. 393)

“The use of "musical instruments can add a great deal" in Masses with children, especially if they are played by the children themselves.  The playing of instruments will help sustain the singing or to encourage the reflection of the children; sometimes in their own fashion instruments express festive joy and the praise of God.  (Directory for Masses With Children, November 1, 1973, No. 32)