According to James R. Groft, Jr., the author of Close Harmony: a History of Southern Gospel, the genre comes from sacred harp singing, an early American practice of loud, unaccompanied singing by untrained singers. Sacred harp singing emphasized the joy of singing praise of God rather than any kind of musical aesthetic, such as nuanced dynamics, phrasing or vocal tone. During the Civil War and Reconstruction, publishers issued sacred harp singing books using shape-note notation, which was easily learned in one sitting. These books contained both traditional hymns and newly composed religious songs and helped circulate the notion of the Southern gospel sound throughout the South and into the Mid-Atlantic region.
Southern gospel had taken root across the South by the last decade of the 19th century, and the all-men's ensemble had developed as the premiere form for performances, especially in areas where society deemed it unsightly for women to appear on stage. In some areas in the late 19th and early 20th centuries, accompaniments by pianos or banjos were used, but for the most part, all of the singing was a Capella.
According to Southern Gospel historian John Scheideman, professional singing groups emerged for the first time in the 1920s. These groups, usually all-men's groups or family groups, toured with tent revivals and specific preachers. The hardships of the Great Depression called many men and women to religion, and Southern gospel singing was considered a form of ministry that could reach out to the people. Not even the singers were spared from the economic difficulties: John Scheideman writes of the Speer and LeFevre Families that, "The first form of transportation for the Speers was a two-horse wagon (a car was still a major luxury then in the South)! And at one point the LeFevres had to sell their furniture to be able to afford to keep singing and traveling." The music itself remained much the same as it had been since the end of the Civil War, with new songs in traditional styles and forms joining the repertoire.
Southern gospel radio stations began recording artists in the 1930s and issued records starting in the 1950s. Early recording artists often struck up long-term relationships with radio stations, living in the town and singing both for the station and at services in the area, while touring neighboring states. Such artists included the Blackwood Brothers, the Melody Masters and the Stamps Quartet, who sang with Elvis Presley.
After the Second World War, Southern gospel went through a decline in popularity. Sensing the need to change in order to keep up with contemporary tastes and audiences, groups and soloists began mixing elements of rock and especially mainstream country music into their work. The North Carolina-based Inspirations used country and Appalachian music to diversify their songs. The Plainsmen, dressed in hip, "mod" styles and sang music influenced by the Beatles and the Oak Ridge Boys, performed songs designed to appeal to a younger audience familiar with country and rock music.
Southern gospel today is highly reflective of both its roots and modern culture. Artists may perform in chic suits, but the music they sing can be directly traced to the sacred harp songs of the 19th century. Ensembles use vocal back beats and rhythm reminiscent of soft rock and country, and lyrics often deal with modern religious and life issues, such as a spouse's deployment to the Middle East, college life or balancing work and home life. While men's groups still predominate, there are also all-women's ensembles and many solo artists, who usually perform with a back-up band straight out of Nashville.