I have here a bit more from David R. Breed's The History and Use of Hymns and Hymn-Tunes (New York: Fleming, 1903). You may, of course, go read the chapter in question for yourself. In this selection, Breed complains of the gospel song's settled and an inflexible style.

[6.] The multiplication of these Gospel tunes settled into a mannerism.

This would have been an evil, even if the mannerism itself was not specially obnoxious.The old Scotch tunes, as we have seen, were good tunes; but their inflexible style was disheartening. The error in the case of the Gospel tunes was more serious. They created a musical idiom which was undesirable. They degenerated into a kind of musical “slang,” which while it was eminently sincere and pious, yet operated to deprave the purity of praise as its counterpart in language operates to deprave purity in speech. Many a worshiper has been misled with regard to the qualities of a true hymn and the nature of sacred music. Reverence degenerates into familiarity, and solemn worship is displaced by musical harangue. The best effects of these songs were therefore local and temporary.