Somewhere in my queue of non-time-sensitive articles to write—yes, it’s been there a while—is one on the history and practice of making theologically significant changes to traditional American songs. Not just line-level edits like neutering/diversifying gendered language or using “love” in place of “wrath.” I mean re-imagining songs in a thoroughgoing way, while also preserving much of the existing imagery and language patterns. (I posted some time ago about one historical example.)
I write songs and play traditional music, but I haven’t actually tried this approach myself.
In the evangelical subculture of my youth, there were three categories of pop music. There was secular music, the avoidance of which was, as with alcohol, a nonessential of the faith. (My parents’ approach was more tight regulation than outright ban.) There was Christian music, the Nashville-industry pop records that we heard on Christian radio during our school carpool and then saved our allowances up to buy. And then there was worship music, which we sang at church.