Introduction
For centuries, followers of Christ have used music as a channel of communicating
their love and adoration towards their Creator and Savior, Jesus Christ. In fact, the use of
music with God’s people is encouraged throughout the pages of Scripture. In the Old
Testament, the psalmist writes, “Sing to him a new song; play skillfully and shout for
joy” (New International Version, Psalm 33:3). In the New Testament, the Apostle Paul
writes to the Ephesians, “Speak to one another with psalms, hymns and spiritual songs.”
(New International Version, Ephesians 5:19). Throughout Christian history, wherever
there has been renewal, revival and restoration, fresh songs of praise and worship have
followed and in many cases serve as cultural and historical indicators of what the Lord
was doing in His people at that particular time in history. As William Reynolds observed,
“Christian song is never static, never quite the same from one generation to another.
When viewed from two or three decades the changes appear rather small. However, a
backward look of fifty years reveals more distinct differences, and these differences
become more sharply defined over a passing century” (Reynolds 124). This quote by Dr.
William J. Reynolds provides a platform for a study of the distinct differences of music in
the church during the past century.
The purpose of this thesis is to outline Church music transformation from Hymns
to contemporary Christian praise & worship, outlining four basic styles of songs, their
history, the poetic-lyric relationship, and musical characteristics of each. In addition to
specific examples, special consideration will be given to select composers and influences
commonly identified with each particular style. Drawing from reliable and scholarly sources, this thesis will conclude with the development of the modern worship song.
Suggestions will be made as to the direction modern worship music will take in the
future.
Liturgical Hymns and Gospel Hymns
History and Influences
Revivals and the music that was birthed from them. The first style of song to be
examined is hymns. In this discussion of hymns, it will be important to note the stylistic
differences between liturgical and gospel hymns. In his book, Singing with
Understanding, Kenneth Osbeck offers insight between the two:
Liturgical Hymns Gospel Hymns 1. Primary purpose is to glorify one or all
of the persons of the Triune God-head.
Generally more objective and vertical in
character
2. Used primarily for Christians in a
worship service
3. Music is stately, dignified, and more
devotional in character. Harmonically the
songs are characterized by more frequent
chord changes.
4. Notes are generally of even time value.
Comparatively few notes of eighth or
sixteenth note values.
5. The text is usually set to music so that the
verses are complete in themselves without
use of chorus or refrain techniques. 1. Primary purpose is to give a testimony or
an exhortation, a warning or invitation.
Generally very subjective and horizontal in
character.
2. Used primarily in evangelistic, revival
and fellowship services.
3. Music is usually rhythmically fast or
lilting, generating a pervasive enthusiasm.
Harmonically the songs are characterized
by few chord changes.
4. Notes of varied time value with the
dotted notes especially predominant. Also
the use of ‘lilting’ 6/8 rhythm is common.
5. The text finds its complete expression
with the use of a chorus or refrain at the end
of each stanza. Many scholars regard Isaac Watts as the father of hymnody: “Isaac Watts, a
Congregational minister had the most profound influence on his country’s transition to hymn singing and thus became known as the “father of English hymnody” (Webber 228).
Watts, who lived from 1674-1748, led the reemergence of congregational singing after
the Roman Catholic Church had been instructed to eliminate it in the fourth century
Laodicean decree (Osbeck 11).
Had it not been for Watts’ desire to create music that would encourage
congregations to sing theology, the modern worship music enjoyed today may have never
evolved to what we have today.
Closely associated with many of the hymns written in the last two centuries are
the great revivals that inspired them. Most notably are hymns and invitation songs
written by Charles Wesley (1707-1788), brother of John Wesley (1703-1791), both
leaders in the revival movements (later termed ‘The Wesleyan Movement’) in England in
the eighteenth century. There is an inseparable relationship between religious revival and
the composition of hymns and songs for congregational worship. In fact, the hymnologist
Kenneth Osbeck, writes, “Every religious movement throughout history has always been
accompanied with song” (Osbeck 11). Wesley’s approach to hymn writing demonstrates
the ineffable value of penning songs that articulate doctrinal truths (many which were
heavily influenced by Armenian theology). Like Watts, Wesley implemented simple
rhythms and singable melodies to facilitate congregational singing. Influenced by the
popular German folk music of the time, Wesley made use of newer, more contemporary
melodies (Webber 229). Wesley’s hymns were devotional in nature and thus contributed
to the development of gospel hymns. Musical Form
Musical form is critical to understanding how effective music functions: “The
overall design of a piece of music is referred to as form . . . repetition and contrast are the
two most fundamental principles of musical form” (Politoske 34). In hymnody, songs are
usually written in strophic form, which deals with the relationship between the melody
and the lyric. A song is considered strophic when the same music is repeated for each set
of words (Politoske 35-36). Each set of lyrics within a song can be identified by the
terms: verse, stanza or strophe, the latter from which we get the term, ‘strophic form’.
First to be examined will be the musical form of hymns in its most simplistic structure.
This will be followed by a detailed explanation of more sophisticated hymnody.
Many hymns of the seventeenth, eighteenth and nineteenth centuries are written in
this musical form and typically are used to tell an overall gospel or theological story.
Charles Wesley’s great hymn, “O For a Thousand Tongues,” is an example of strophic
form. The first stanza reads:
O for a thousand tongues to sing, My
great Redeemer’s praise!
The glories of my God and King,
The triumphs of His grace! (Forbis 216). As hymns developed, writers began to add choruses/refrains to the strophic form.
One of the most popular gospel hymn who employed this technique was the talented
blind composer, Fanny Crosby. Her gospel hymns would go on to be the songs most associated with revivalist camp meetings, giving musical expression to what the Lord was
doing at this time.
The addition of a chorus/refrain to the standard strophic form allowed the
composer to isolate one thought and repeat it over and over. The addition of the chorus
has stayed with popular music to the present day. An example of this style of writing can
be seen in Fanny Crosby’s popular gospel hymn, “To God be the Glory”
The first stanza and refrain of this classic gospel hymn are as follows: To God be the glory, great things He hath done,
So loved He the world that He gave us His Son,
Who yielded His life an atonement for sing, And
opened the life-gate that all may go in. Praise the Lord, praise the Lord,
Let the earth hear His voice!
Praise the Lord, praise the Lord,
Let the people rejoice!
O come to the Father thro’ Jesus the Son, And
give Him the glory,
Great things He hath done (Forbis 4). One metric indicator seen in the writing of hymnody is called “irregular meter”.
This term is used to indicate that the text of the hymn does not always have the same
number of syllables or structure of the meters mentioned in the previously discussed chart
by hymnist, Kenneth W. Osbeck (Osbeck 6).
Lyric and Musical Form in Hymns The use of strophic structure in hymnody is identified by the number of syllables
used in each lyrical phrase. These lyric lines are organized by poetic meter. Four of the
most commonly used meters are: short meter (6.6.8.6.), common meter (8.6.8.6.), long
meter (8.8.8.8.), and long perfect meter (8.8.8.8.8.8.). Hymn compositions that do not
fall into any consistent pattern are noted as “irregular meter.” The numerical values in
parenthesis beside each of these meters indicate the number of syllables contained in each
line of poetry. Over the years, hymn writers have used one of these four types of meters
to communicate lyric idea. This has enabled the composer to assign one melody to
several texts. It also allows other writers to apply the same lyric to many melodies. For
example, “Amazing Grace”, written in common meter, may be sung to several different
melodies (i.e., “Gilligan’s Island” theme and “House of the Rising Sun”).
Familiar examples of hymns composed in these four meters include: Timothy
Dwight’s poem, “I Love Thy Kingdom, Lord!” which follows a clear 6.6.8.6. short meter
pattern; an example of common meter (8.6.8.6.) is “All Hail The Power of Jesus Name”
by Edward Perronet; an example of long meter (8.8.8.8.) is “Jesus Shall Reign” by Isaac
Watts; “Blessed be the Name” by William Clark and Ralph P. Hudson is example of long meter with refrain (8.8.8.8. with refrain); and finally, an example of a hymn with irregular
meter would be Joseph Mohr and Franz Gruber’s German Christmas hymn,
“Silent Night! Holy Night!” (Osbeck 6).
As seen in Osbeck’s chart on page two, the lyrical form of liturgical and gospel
hymns differs. Poetically, liturgical hymns focus on objective truth and proclamation of
doctrine. Gospel hymns, on the other hand, typically tell the gospel story and the power
of God working in the composer’s life. Sometimes the final stanza of both liturgical and
gospel hymns are used to communicate eschatological truth, reminding the singers of the
second coming, Heaven or the life to come. An example of this practice can be seen in
comparing the first and final stanzas of “Amazing Grace” written by John Newton:
Amazing grace how sweet the sound,
That saved a wretch like me! I once was lost but now am found, Was blind but
now I see! When we’ve been there ten thousand years,
Bright shining like the sun!
We’ve no less days to sing God’s praise,
Than when we first begun! (Forbis 330). Gospel Songs History and Influences The second style of music to be discussed in the development of modern worship is the
gospel song. It can be identified by two different styles: black gospel and southern
gospel.
Black Gospel music finds its roots in African-American worship, much of which
was born out of the oppression many African American people faced during times of
slavery and segregation. One author describes the dangerous and troublesome setting in
which many African Americans worshipped during and following the Civil War:
“Because it was dangerous for slaves to worship God, they gathered in clandestine
meetings held in cabins or outdoors that often lasted all night . . . Slave worship was
frequently emotional and exuberant” (Redman 26). Early Black Gospel compositions are
sometimes referred to as chants or spirituals.
The development of Southern Gospel music can be traced to the southeastern
region of the United States. Southern gospel is an outgrowth of the singing school
movement of the 1830-50s (Whaley 45). They practiced singing from ‘shaped note’
hymnals. Later this developed into a type of singing called ‘Convention Style’ singing
where individual parts were sung independent of one another and well defined. A
modern example of this type of singing is the Male Southern Gospel Quartet (Whaley
45). Musical Form
Black Gospel music differs from Southern Gospel music style in that it often is
more spontaneous as described by Dr. Vernon Whaley: “Modern African-American
religious music is referred to as black gospel and characterized by spontaneous solos, and
improvised vocal counterpoint. African gospel music is often highly rhythmic and most
often taught as parts of an oral tradition. It’s roots lie in a much older European tradition
of preaching, singing, shouting and clapping” (Whaley 47). The modern music of jazz
and rhythm and blues had a significant influence on the musical form of Black Gospel
music. Anthony Heilbut, a historian on Black Gospel music, often regards much of the
early black gospel spirituals as the “Baptist Blues” because the form of these songs is
identical to the sixteen-bar blues made popular in secular jazz and rhythm and blues
music (Heilbut 25). The musical form of Southern Gospel differs from the black gospel
style in that it leaves little room for spontaneity. Southern Gospel music is typically
arranged in SATB (soprano, alto, tenor, bass) and is characteristic for its use of tight
harmonies highlighting a strong bass line.
The singing style of Southern Gospel music was taught in community groups and
schools using a style of notation called “shaped notes” or “sacred heart singing,” a form
of notation that indicated pitches and durations through the shape of the notes: “Singing
from shaped-note books developed into a tradition that became a way of life for these
Southern evangelicals. Right up through the 1960s, the singing school, with the singing
school master, was an important method of music education for Southern churches” (Whaley 45). As a result, the institutions, churches, publishers and music groups that
endorsed its use popularized Southern Gospel music.
Lyrical Form
Common to both Black Gospel music and Southern Gospel music, is lyric form
and content. Both are often characterized as being highly emotional “story songs” or
“songs of testimony.” Heilbut comments on this characteristic in black gospel music
saying, “. . . their song becomes a testimony, evoking public role – ‘I’ve come to lift your
burdens’; and private needs – ‘I can’t sing your story, but I can moan mine’” (Heilbut
25). A great example of this testimony style of singing can be seen in Robert Anderson’s
composition, “Prayer Changes Things,” who through his lyrical form gives a strong,
convincing testimony to the power of prayer:
I’ve heard the story of David,
I’ve heard of Daniel in the lion’s den.
I’ve heard of Job and his affliction,
How they all kept the faith to the end.
But when all hope had seemed to fail,
My God’s power did prevail,
I know, yes I know, prayer changes things. I’ve traveled through sorrow valley,
So many times my heart’s been made to bleed. By some friends whom I thought were with me,
Through disappointment, I was knocked down to my knees. But
I rose with faith and grace,
I found nobody to take God’s place,
I know, yes I know, prayer changes things (Heilbut 25). This testimonial style of lyric is also verified by Bill and Gloria Gaither’s classic
gospel song, “Because He Lives” demonstrates this testimonial style of writing in its
second verse, written shortly after the birth of one of the Gaither’s children:
How sweet to hold our newborn baby,
And feel the pride and joy He gives;
But greater still the calm assurance,
This child can face uncertain days
Because He lives. Because He lives I can face tomorrow;
Because He lives all fear is gone;
Because I know He holds the future,
And life is worth the living
Just because He lives! (Forbis 407). Praise and Worship Chorus History (Composers and Influences) The third genre of music to be discussed is the “praise and worship chorus.” The
rise of the worship chorus came about in the late 1970s and can trace its origin to the
Youth For Christ Movement of the 1940s and 1950s and Jesus Movement of the late
1960s and 1970s (Redman 52-53).
The Youth Choir Genre
A significant move of God during this time that helped to popularize the “worship
chorus” was what is referred to as the “youth movement”. Having its roots in the 1940s,
youth choirs gained popularity in the 1970s through a number of Para-church
organizations. Youth For Christ, co-founded by Billy Graham emerged during this time
and with it a strong emphasis in youth choir singing: “They (Youth For Christ)
introduced short, easy-to-sing, highly popular gospel choruses to the evangelical culture”
(Whaley 78). One particular method in introducing these new worship choruses to the
masses was through annual Youth For Christ rallies. These events showcased and
featured large numbers of youth choirs.
Following the Youth For Christ movement was a period of time where youth
musicals, produced by talented young arranger/composers, provided opportunity for
theological and musical expression by American Youth. The musicals were hugely
popular and quickly emerged as a new genre – unique to the growing evangelical youth ministry market. Like the material being introduced by the Youth For Christ movement,
these youth musicals (penned by men like Ralph Carmichael, Kurt Keiser, Don Marsh,
Don Wyrtzen and Jimmy Owens) introduced a number of new songs and praise choruses
to the church at large. Kurt Kaiser’s famous composition, “Pass It On” (from “Tell It Like
It Is”) and Ralph Carmichael’s “He’s Everything to Me” eventually became a favorites
for youth and college groups in the 1970s” (Redman 23). In addition to introducing new
praise choruses to the church, the youth musical movement also validated many
contemporary styles of music and demonstrated that Christian music could be both
current and Christian simultaneously:
Youth musicals had a significant impact on young Christians in the 1960’s and
70’s. For one thing, they validated the popular musical styles kids were listening
to on the radio, at least for youth meetings and evangelism. Although such
composers as Buryl Red, Ralph Carmichael, Jimmy Owens, and Kurt Kaiser were
not rock and rollers, they did encourage kids to use their instruments and their
music (Redman 52). The youth musical movement not only contributed to the development of the
modern worship song through popularizing the “worship chorus” but also helped bring
worship music into the style and language of the people.
The Jesus Movement
A second major influence on worship choruses in the 1960s and 1970s was the
Jesus Movement. This was a revival that had its origin in the Hippie counter-culture in the United States and Canada. Unique to this great revival movement was the use of
many short songs or “praise choruses” which articulated the new found hope and joy
many young believers were finding in Jesus Christ. Much of the development of these
“worship and praise choruses” can be traced back to the ministry of Pastor Chuck Smith
at Calvary Chapel in Southern California. Smith’s ministry was particularly significant in
shaping the Jesus Movement culture as he was one of few ministry leaders who
welcomed hippies into his services, led them to the Lord, and then encouraged them to
use their style of folk/rock music as a form of worship expression.
Out of this movement emerged talented songwriters who penned short choruses
associated with a real sense of honesty before the Lord, many focusing on themes of
forgiveness and repentance. “Jesus music” came to be characterized by its simplicity and
personal expressiveness (Redman 52). Two composers who made indelible contributions
to the catalog of “praise and worship chorus” were Keith Green and Anne Herring.
Green’s, “Oh Lord, You’re Beautiful (1980)” and “Create In Me A Clean Heart (1984)”
and Herring’s timeless classic, “Easter Song (1974),” are still sung in churches around
the globe today.
Ralph Carmichael. One significant contributor and influence on “praise and
worship music” of this era is Ralph Carmichael. Known to many as an innovator of music
for Christian culture, (Whaley 115). Carmichael’s historical impact on Christian music is
unparalleled. Having established himself in the 1960s as a highly skilled “secular”
composer and arranger, Carmichael was integral in merging contemporary Christian
culture with wellcomposed, contemporary music. Carmichael succeeded in uniting the Christian message and the style of popular rock and roll culture without compromising
the message. Dr.
Vernon Whaley, distinguishes four innovative contributions Carmichael made to the
Christian music industry and development of the modern “praise and worship song”:
(1) He introduced the writing technique and sound of 1940’s big band and
commercial jazz as an alternative style for Traditional gospel music. (2) He
merged the musical innovations created in the Hollywood studios with music for
the Youth For Christ movement. (3) He established a standard of excellence in
the recording of traditional gospel music equaled only by secular record labels.
(4) He served as an example, mentor, and inspiration for hundreds of aspiring
young evangelical arrangers (Whaley 121). Unlike others over the past hundred years, Carmichael’s influence has helped to
accelerate the development of worship music in unique ways, causing it to quickly
embrace multiple styles and forms (jazz, big band etc.) while maintaining a clear gospel
message. Carmichael’s influence broadened the scope of what church music could be,
giving permission for younger artists and arrangers to compose and create worship music
that was diverse and relevant to the styles of the time.
The Scripture and Song Movement
In addition to the great outpouring of God’s Spirit upon America during this time, He was also very much at work in New Zealand through the ministry of Dave and Dale
Garrett. The Garrett’s, a husband and wife duo, were the founders of “Scripture and Song
Music,” a company that was devoted to publishing Scriptural settings for congregational
worship. Their roster of songs included Nadia Hern’s, “Jesus, Name Above All Names”
and Bob Cull’s “Open Our Eyes, Lord.” These short choruses made their way around the
world and into the worship language of millions of churches. The
Garrett’s labor would prepare the soil for even greater moves of God in Australia and
New Zealand through the ministries of Hillsong Church and Planet Shakers Church.
Musical Form
The musical form of many of these “praise and worship choruses” can be
classified as either an AA format or an ABA format. The AA format is a refrain or chorus
that is repeated a number of times. Sometimes key changes are implemented to keep the
song fresh if it is to be repeated multiple times. The ABA format consists of two parts,
typically a refrain/chorus as well as a B part or bridge which breaks away from the A
section melodically, employing a different tune before returning to the A section. A good
example of this can be seen in Keith Green’s classic, “Oh Lord You’re Beautiful” which
chorus and subsequent bridge (B section) is as follows:
Oh Lord, You’re Beautiful,
Your face is all I seek
For when Your eyes are on this child,
Your grace abounds to me.” I want to take Your Word and shine it all around
But first help me just to live it, Lord!
And when I’m doing well help me to never seek a crown,
For my reward is giving glory to You! (Baldwin 310). Lyrical Form Common to the characteristic of lyrical form in this style is the expression of an
honest, intimate relationship with Jesus Christ. Rob Redman, author of The Great
Worship Awakening comments on this particular lyric practice, “The positive perspective
was their high esteem for authenticity and simplicity” (Redman 53). This type of
authenticity and simplicity can be seen in Laurie Klein’s famous chorus, “I Love You
Lord” originally composed in 1978:
I love you, Lord
And I lift my voice
To worship You, oh my soul rejoice
Take joy my King in what You hear
Let it be a sweet, sweet sound in your ear (Baldwin 21). One can easily see the simple, yet powerful poetry contained in this song. The
effortlessness of this lyric is what has made it both popular and enduring. More than 25
years after this song’s publication it is still recognized as one of the most popular worship
choruses of all time (“CCLI Top 100”).
Another popular chorus written in this time that demonstrates a lyric that
demonstrates a straightforward, honest and reflective lyric is the popular chorus, “Father I
Adore You” written by Terrye Coelho. This song is unique in that it is written
harmonically and lyrically as a “round”, meaning that certain sections of the songs can be
sung over other sections as simple counterpoint. In this particular lyric we see simplicity
and honesty reflected in the usage of relational language that is vertical. The
uncomplicated lyrics of this composition are as follows:
Father I adore You,
Lay my life before you,
How I love You (Baldwin 151). This lyric demonstrates a slow shift in the way composers expressed their
thoughts to God. This shift to more personal lyrics gave worshippers opportunity to use
intimate language as a form of expression to their Creator. The Modern Worship Song
History and Influences
The modern worship song is a product of the latter part of the twentieth century,
particularly since...

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