I was a music major in college, and in freshman music theory, we learned about an interval called a Tritone.
A Tritone is an augmented fourth, or a combination of pitches that make a dissonant sound when played together. We also learned that from the Renaissance until the Classical Era, Tritones were generally banned in church music. A musician in the early 18th century even referred to the Tritone as diabolus in musica, or the Devil in music.
Church music of this era was supposed to be beautiful and pleasing to God, full of predictable chord progressions and pretty major chords and final resolutions. You could spend years learning all the rules of hymn writing, the rules about passing tones, chord structure, and bass lines.
Though many of these hymns were written for pipe organs and choirs and great cathedrals, in its essence, church music hasn’t changed much in 800 years. We may go to church in repurposed warehouses and school gymnasiums and modern sanctuaries, but we still have a set of rules to follow. We still write worship songs with the same predictable chord progressions and pretty major chords and final resolutions.