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This paper investigates internal evidence from the  Homeric Hymns  in order to trace the development from choral to monodic hymns. A study of the words  humneo  and  humnos  and the analysis of the embedded choral theogonic songs in the corpus of the  Homeric Hymns  show that women’s choral songs about gods are always identified as hymns, while the monodic theogonies, which are described in this corpus, are not identified as such. This division between choral and monodic hymns, reflected to some extent in the diction, is reconciled in the  Homeric Hymn to Apollo , in which the poet, representing a different genre, addresses and praises the Delian Maidens – the choral singers  par excellence . As the  Homeric Hymns  evolve from cultic, choral hymns, they turn the local praise of gods into panhellenic encomia. Such transition is also alluded to in other sources, in which hymns are disseminated and adapted by male performers, as a result of a female chorus’ instruction.

From Choral to Monodic Hymns : Some Evidence from the Homeric Hymns