What happened after the Council was totally different: in the place of liturgy as the fruit of development came fabricated liturgy. We left the livin… - Benedict XVI

So one aspect of becoming a Christian is having to leave behind what everyone else thinks and wants, the prevailing standards, in order to enter the light of the truth of our being, and aided by that light to find the right path.

Having a clear faith, based on the creed of the church, is often labeled today as a fundamentalism. … Whereas relativism, which is letting oneself be tossed and "swept along by every wind of teaching," looks like the only attitude acceptable to today's standards. We are moving toward a dictatorship of relativism which does not recognize anything as definitive and has as its highest value one's own ego and one's own desires... The church needs to withstand the tides of trends and the latest novelties. ... We must become mature in this adult faith, we must guide the flock of Christ to this faith.

Whether it is Bach or Mozart that we hear in church, we have a sense in either case of what gloria Dei, the glory of God, means. The mystery of infinite beauty is there and enables us to experience the presence of God more truly and vividly than in many sermons. But there are already signs of danger to come. Subjective experience and passion are still held in check by the order of the musical universe, reflecting as it does the order of the divine creation itself. But there is already the threat of invasion by the virtuoso mentality, the vanity of technique, which is no longer the servant of the whole but wants to push itself to the fore. During the nineteenth century, the century of self-emancipating subjectivity, this led in many places to the obscuring of the sacred by the operatic. The dangers that had forced the Council of Trent to intervene were back again. In similar fashion, Pope Pius X tried to remove the operatic element from the liturgy and declared Gregorian chant and the great polyphony of the age of the Catholic Reformation (of which Palestrina was the outstanding representative) to be the standard for liturgical music. A clear distinction was made between liturgical music and religious music in general, just as visual art in the liturgy has to conform to different standards from those employed in religious art in general. Art in the liturgy has a very specific responsibility, and precisely as such does it serve as a wellspring of culture, which in the final analysis owes its existence to cult.