Earlier in the week, I read about the likelihood that Adele’s new album will fade more quickly from the public consciousness because music today does not last as long. This may also be the case for popular worship songs sung in churches:
Worship songs don’t last as long as they used to. The average lifespan of a widely sung worship song is about a third of what it was 30 years ago, according to a study that will be published in the magazine Worship Leader in January.
For the study, Mike Tapper, a religion professor at Southern Wesleyan University, brought together two data analysts and two worship ministers to look at decades of records from Christian Copyright Licensing International (CCLI). The licensing organization provides copyright coverage for about 160,000 churches in North America and receives rotating reports on the worship music that is sung in those churches, tracking about 10,000 congregations at a time.
Looking at the top songs at those churches from 1988 to 2020, the researchers were able to identify a common life cycle for popular worship music, Tapper told CT. A song typically appears on the charts, rises, peaks, and then fades away as worship teams drop it from their Sunday morning set lists.
But the average arc of a worship song’s popularity has dramatically shortened, from 10 to 12 years to a mere 3 or 4. The researchers don’t know why.
Along with the possible reasons listed in the article for this change (social media, pressure to incorporate new music faster. remote church), this might also go along with an increased speed of social change more broadly. There are more cultural works accessible to more people at a quicker speed. Any cultural work may struggle today to stand out and endure in such a flood of possibilities. I could imagine it would be fruitful to bring a sociological of culture lens to the same data and research question to get at what factors have led to these changes.
Additionally, this hints at the cultural speed at which congregations feel they may have to operate. Is religious faith and practice timeless or must it keep up with the times? American evangelicals are distinctive in part because of their interest in engaging with culture while attempting to retain what they see as traditional and important beliefs. How does the speed of new music affect this tension?