Some things we do are ancillary to others. Hymnody for singing at worship is like that. The church is gathered for a number of purposes, of which congregational singing is just one. Creation of hymns by composers and lyricists generates a supply for choirmasters and worship leaders downstream. The best of these hymns become cultural artifacts that endure for perhaps centuries, producing a reverent or celebratory spirit in each successive generation, even as most of their creators are forgotten.
Since the dawn of broadcasting in the 20th century, business has taken a heavier hand in composition of all kinds of music, especially through the incentive of copyright law. This has led to a displacement of traditional hymnody in favor of contemporary worship music. As they are often performance-oriented rather than participatory, today's worship songs sharply differ from traditional hymns in many ways. The differences include musical style and duration, and in lyrical depth and sophistication.
We at Emelessence aim to understand what persistent qualities of hymns distinguished them from today's worship music, identifying as well any idiosyncrasies unique to certain denominational groups. To this end, we will explore, in sequential eras and generations, patterns in chord progressions, lyrical themes and subjects, and doctrinal and cultural differences.