Jesus Paid It All: Combining Rock and Hymns in Contemporary Worship Music
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Abstract
Much of Contemporary Worship Music (CWM) synthesizes elements of rock music and hymns. This thesis provides an analysis of four CWM songs, “Come Thou Fount,” “How Deep the Father’s Love for Us,” “Your Glory/Nothing but the Blood,” and “Jesus Paid It All,” outlining common characteristics and associations with rock music (notably soft rock and pop rock) and hymns from 19th-century White Gospel hymnody; many such hymns can be found within a Baptist or Methodist hymnal. Scholarship by Brian Walrath, Robert Woods, Monique Ingalls, Ken Stephenson and John Covach (among many others) serve as the basis for my analysis. I also use a variety of analytical techniques to articulate the relationship between CWM and other genres, including formal and Roman numeral analyses. Connections between text and music arise from the Roman numeral and formal analyses leading to important correlations between genres. Exploring parameters in each of the songs, such as the instrumentation, form, harmonic progressions, text, and borrowed materials reveals that these four CWM songs share features with both hymns and rock music, demonstrating a merging of the two genres to create something new.
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Introduction -- Form -- Instrumentation and timbre -- harmony -- Borrowed material -- Text-music relations -- Conclusion
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M.M (Master of Music)