“Hymns and children’s songs are the best teachers of theology.” That insight, shared by a wise Primary president years ago, rings especially true in the Church of Jesus Christ of Latter-day Saints, where the melodies learned in childhood become the soundtrack of faith for a lifetime. For many Latter-day Saints, the words of beloved hymns linger long after sermons fade, forming the scaffolding of memory and belief that endures into old age and moments of need.
This year, the LDS Church began rolling out the first wave of a new global hymnal—a project that will eventually unite congregations worldwide with up to 500 hymns and children’s songs by 2030. But the first 13 additions, released in May 2024, are already sending ripples through the community, hinting at a quiet but profound theological shift. As Jana Riess observed in the Salt Lake Tribune, the new selections proclaim, “we’re Christians, we’re Christians, we’re Christians.” The message is unmistakable: Latter-day Saints are stepping confidently into the broader Christian tradition, embracing a more universal language of faith.
Nowhere is this more apparent than in the reintroduction of Protestant classics like “Come Thou Fount of Every Blessing” and “Amazing Grace.” Both songs once graced early LDS hymnals—Emma Smith included “Amazing Grace” in the 1841 collection—but were later omitted, likely due to their strong emphasis on grace, a concept that historically made some LDS leaders uneasy. Elder Bruce R. McConkie’s 1984 warning against “the doctrine that we are saved by grace alone, without works” was emblematic of an era when grace was viewed with suspicion. Yet, as Riess notes, “the past two decades have seen a theological shift away from McConkie’s extremism and toward a reconciliation with the idea of grace.” The fact that “Amazing Grace” now returns—albeit with only three of its original six stanzas—signals a new comfort with the language of grace in LDS worship.
This evolution isn’t just about which songs are sung; it’s about what gets left unsung. Notably absent from the new hymns are classic LDS themes like Zion as a literal gathering place or references to Missouri, long taught as central to the last days. Hymns that once celebrated these distinct markers of Mormon identity may quietly disappear in future editions, replaced by songs that recast “Zion” as a state of heart rather than a geographic destiny. As Riess predicts, “the hymns that can be recast with ‘Zion’ as an idealized ‘pure in heart’ theme can stay… while the ones that explicitly refer to Zion as a mountain refuge… may quietly disappear.” The omission of “Adam-ondi-Ahman,” a hymn steeped in uniquely Mormon eschatology, seems likely.
For some, this shift may feel like a loss. Early LDS hymnals brimmed with songs about Zion, priesthood, and the Restoration, reflecting the vibrant, exploratory theology of a young faith. Hymns like “Praise to the Man” and “The Spirit of God” were more than music—they were declarations of a new religious identity. Over time, as the hymnbook evolved through Emma Smith’s pocket-sized 1835 edition, the Manchester Hymnal, and the 1985 global release, the balance between tradition and adaptation became a defining feature of LDS hymnody. The new global hymnal continues this legacy, but with a noticeable tilt toward universal Christian themes and away from the particulars of Mormon history.
This trend isn’t unique to the LDS Church. Across Christian denominations, hymnals have long served as both vessels of doctrine and bridges between communities. As one essay in Earth and Altar puts it, “hymns open our faith experience and practice to that of the entire Church—folded in time and rooted in Christ.” The inclusion of Protestant standards in the new LDS hymnal mirrors a broader ecumenical movement, where songs like “How Great Thou Art” and “A Mighty Fortress Is Our God” transcend denominational lines, fostering unity through shared worship.
Yet, even as the LDS hymnal grows more ecumenical, it retains a distinct flavor. The new selections still emphasize obedience to church leaders—a theme that’s become more pronounced in recent General Conferences. While the overt celebration of modern prophets may not reach the “idolatrous levels” of earlier hymns, the message remains: Latter-day Saints are Christians, but with a living prophet at the helm.
For choir directors and religious studies enthusiasts, these changes offer a fascinating lens into the evolving soul of Mormonism. The new hymns aren’t just about music—they’re about memory, theology, and the subtle shaping of identity. As the global hymnal takes shape, it invites all who sing to join a larger chorus, one that blends tradition with transformation, and roots a uniquely Mormon faith ever more deeply in the language of grace.
