"But nowadays hymns are the norm, because people don't have much else to sing"

The quote by Richard Morris, "However nowadays hymns are the norm, due to the fact that people do not have much else to sing," recommends a shift in cultural or social practices in which hymns have ended up being the predominant or default form of musical expression. This statement may be analyzing several underlying styles, such as changes in access to varied musical customs, shifts in communal or social activities, or commentary on the role of music in modern life.

Firstly, the declaration could indicate a constricting of musical diversity in public or communal settings. Hymns, which are generally connected with spiritual or spiritual events, suggest a setting where conventional or established kinds of music are primary. This might show a lack of direct exposure to or engagement with a larger range of musical genres, potentially due to cultural, educational, or financial factors. In essence, the quote mean a homogenization of musical experiences.

Additionally, the phrase "individuals do not have much else to sing" could likewise be highlighting a loss of informal or folk music customs, where neighborhoods may have when had a repertoire of songs passed down through generations. The quote might suggest that modern society does not have these standard tune circles, leading to hymns filling that void due to their accessibility and structured existence within spiritual organizations.

In addition, Morris's statement might be a commentary on the changing nature of how individuals and neighborhoods express themselves. In contemporary society, where innovation often mediates musical experiences, conventional group singing may have diminished, leaving more structured and organized forms, like hymns in spiritual settings, as one of the couple of events where common singing happens.

Ultimately, Richard Morris's observation can be seen as both a talk about the predominance of hymns in particular contexts and a reflection on more comprehensive cultural shifts, questioning why these modifications have occurred and what they mean for the future of communal musical expression.