Contemporary Worship Music in the Interaction of Poetic Structures, Melodic-Harmonic Organisation, and Theological Rhetoric

Abstract

The purpose of the study is to identify and analytically interpret the aesthetic and functional principles underlying the melodic and harmonic structures in contemporary Christian worship songs, as well as their textual organisation within the context of theological semantics and their influence on collective religious experience. Research methodology. The theoretical foundation of the research is based on an interdisciplinary approach that integrates methods of musicological analysis (melodic-harmonic analysis, form-building, vocal line, rhythmic-melodic patterns) with the tools of linguistic stylistics and religious studies. Particular attention is paid to the functional relationship between musical structure and theological messaging, as well as to the process of sacralisation of the musical material. Scientific novelty. The study proposes a model for interpreting contemporary worship music as a sacred communicative phenomenon that draws upon pop-music templates while preserving theological depth and stylistic distinction. It is established that the melodic lines and harmonic progressions in songs such as ‘Oceans’, ‘10,000 Reasons’, and ‘All the Earth Will Sing Your Praises’ tend to emphasise hyper-intentional intonational centres (especially in choruses) and functional repetition of key motifs, creating a space of emotional ecstasy aimed at inclusive participation in congregational singing. In the context of theological semantics, this contributes to a deeper immersion in a state of prayer, forming music as a medium of confession, worship, and Christian unity. The study also finds that the language of the lyrics deviates from colloquial style in favour of a sacralised register. The use of religious vocabulary, biblical allusions, and metaphorical imagery reflects the functional embedding of these songs within the liturgical space. Conclusions. Contemporary worship music functions as an integrative phenomenon, combining aesthetic accessibility with theological depth. Its melodic and harmonic structures generate an emotionally rich yet inclusive environment in which each worshipper may participate in communal prayer. The lyrics remain marked as sacred, thereby preserving a connection to canonical tradition. Thus, contemporary worship music serves not merely as an artistic accompaniment but as an autonomous medium of religious communication, spiritual socialisation, and cultural transmission of Christian meanings.