Over-Generalizing, Under-Promising, and Over-Promising: Singing Sadness and Joy in the Church
In this article, I examine the emotional content of songs sung in Christian churches. An analysis of the lyrical content of the songs that have been tracked by Christian Copyright Licensing International (CCLI) from 1988 to 2018, shows there is a definition of the Christian life that is set before t...
| Main Author: | |
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| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
MDPI
2022
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| In: |
Religions
Year: 2022, Volume: 13, Issue: 12 |
| Further subjects: | B
Christian worship
B contemporary praise and worship B Sadness |
| Online Access: |
Volltext (kostenfrei) Volltext (kostenfrei) |
| Summary: | In this article, I examine the emotional content of songs sung in Christian churches. An analysis of the lyrical content of the songs that have been tracked by Christian Copyright Licensing International (CCLI) from 1988 to 2018, shows there is a definition of the Christian life that is set before the church and in turn sung by it. The word “joy” appears 37 times and the word “praise” is used 152 times in the 133 songs that comprise the contemporary praise and worship hymnody in the defined time period. In the same time frame, the word sad or any of its derivatives (sadly, sadness, etc.) never occurs in the group of songs that are being discussed. Nor is the word “sorrow” ever used. There are two conclusions that can be drawn from the lack of the use of the word sad. The first is that sadness is undervalued. The second conclusion is that the word “sad” is not a good song word, meaning that it is awkward to sing and fit in the rhythm or meter of a song. The first conclusion relates to the lexical value of a word and the second to the semantic value. To understand the emotional content of music, the texts which provide a lexical meaning need to be examined. Secondly, the semantic meaning, which is composed of the cultural connotations, needs to be considered. The first part, the lexical, is considered by looking at only the text. The second, the semantic, involves looking at how the words and music (both apart and together) conceal and reveal meanings that surpass the lexical level. Thus, the first part of the present work will look at the lyric’s words devoid of context while the second part of the essay will examine the fullness of the songs. As the semantic levels are explored, they will be brought together with the lyrics and the previous level and the question of whether there is an overpromising of joy in the songs will be answered. |
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| ISSN: | 2077-1444 |
| Contains: | Enthalten in: Religions
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| Persistent identifiers: | DOI: 10.3390/rel13121172 |