The Adverbs of Zion

“Majestically? Does that have a musical definition I don’t know about?”

When my non-musical Catholic husband whispered this question during sacrament meeting a few weeks ago, he opened my eyes to one of our hymnbook’s quirks. Alongside their time signatures, every one of our 341 hymns includes an adverb.* These aren’t the traditional Italian adverbs with classical meanings, like “allegro” or “andante.” Instead they seem to be rough English descriptions meant to cue stylings separate from speed.

As an organist I find these descriptors helpful. Even if a hymn has the same time signature, I’m more likely to pull out the trumpet stop for “majestically” and the dulciana stop for “prayerfully.” When I tried to explain this musical approach, my husband started flipping through the hymnbook and making fun of all the other adverbs. “Earnestly?” “Expressively?” “Resolutely?” Would the minor word difference actually change my musical choices? He theorized a bored 1980s hymnbook editor had just pulled out a thesaurus, knowing the exact adverb meanings wouldn’t matter since amateur LDS organists notoriously play everything too soft and too slow.

Curious, I came home and decided to map out the hymnbook’s adverbs.

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Handbook Changes: Music at Church

When I was in high school, I volunteered to have my saxophone quartet play a special musical number in sacrament meeting.

My offer was declined.

I suspect it was declined on church policy grounds. The 1989 Handbook—the one that would have been in effect when I was in high school—didn’t have explicit policies on the types of music and the types of instruments permitted in sacrament meeting; rather, it limited its guidance to the requirement that “[m]usic and musical texts are to be sacred, dignified, and otherwise suitable for a Latter-day Saint meeting.”

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Charlie Parker at 100

Today would have been the 100th birthday of jazz great Charlie Parker.

If you’re unfamiliar with Charlie Parker, he was one of the founders of bebop, a musical style that followed (and supplanted) the big bands and swing that had been popular before World War II. Bird, as he was nicknamed, played the alto sax. He his playing was fast[fn1] and it was rhythmically and harmonically complicated; it, more than almost any other musical style (except, perhaps, mid-century classical music) encapsulated the same modernism that developed in art and literature during the first half of the 20th century.

And why commemorate Bird on a Mormon blog? There is absolutely no reason to think that he had any connection to Mormonism, nor Mormonism any particular connection to Bird. In fact, according to Michael Hicks’s Mormonism and Music, church leaders in the early 20th century “defined jazz as ‘departure from the correct'” and condemned improvisation. As late as 1948, BYU faculty “scuttled” a proposed concert by Dizzy Gillespie, a contemporary of Bird and another of the founders of bebop, possibly fearing repercussions by church leaders. [Read more…]

Let Us Worship How We May?

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Bradley Burgess is a convert to the LDS Church from a mostly Anglican background. He is originally from South Africa, but has lived on the US side of the pond for the better part of a decade. He holds degrees in piano and organ performance, and is a graduate of the Yale Institute of Sacred Music. A professional organist and church musician, Bradley currently serves as the full-time Associate Director of Music and Worship Arts at a large downtown Methodist Church.

In 1842, responding to a request for information about the Latter-day Saints, Joseph Smith composed a letter to the editor of Chicago’s first newspaper, the Chicago Democrat. In this document—now known as the Wentworth Letter, after the newspaper’s editor, John Wentworth—Joseph spelled out some of the history of the Latter-day Saints, as well as a selection of thirteen tenants that he saw as their core beliefs. While they have since become canonized scripture, these thirteen Articles of Faith—as they would later be known collectively—were originally intended for a non-Mormon audience. Even by 1842, Latter-day Saints had become accustomed to persecution—having been forced from upstate New York to Kirtland, OH; to Independence, MO; and, by this time, to Nauvoo, IL. The often violent expulsion of the Saints from state to state was surely not far from his mind when Joseph penned the Wentworth Letter, especially the eleventh statement of belief that declares that Latter-day Saints “claim the privilege of worshipping Almighty God according to the dictates of [their] conscience, and allow all men the same privilege, let them worship how, where, or what they may.” [1] [Read more…]

Christmas in Three (Musical) Acts #MutualNight #ChristmasEve

Chicago Decembers are a great preparation for Christmas. Between the Holiday Train, the lights on Michigan Avenue (and everywhere else), the Christkindlmarket, the Neapolitan Crèche at the Art Institute (and, in fact, the crèche exhibit at my employer),[fn1] in Chicago, the War on Christmas has been going Christmas’s way since long before our president declared victory.

For me, while all of these things are great, music is a central part of the mood and message of Christmas. And after Karen’s incredible deep dive into Mormon Christmas music, I thought I’d share how 2017 live Christmas music shaped up for me. [Read more…]

Harmony and Unison in the Church

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Thanks to my interfaith romance, most weeks I attend both Mormon and Catholic services.  Lately, I’ve been musing on each faith’s church music.

Mormon Sacrament Meetings are simple: someone plays the piano or organ, while the congregation sings three or four hymns from a 30-year old hymnbook.  All parts — Soprano, Alto, Tenor, and Bass — tend to be well-represented.  Occasionally there’s a special musical number by the choir or an amateur musician.  On the margins, music leaders and priesthood leaders bicker about brass instruments, non-Hymn performances, and overly “fancy” arrangements.

Catholic Masses are similar.  The congregation sings four or five hymns together throughout the service; the accompaniment is usually piano or organ.  A large segment of the service is dedicated to call-and-response chants and singing – reciting the Lord’s Prayer, begging Christ for mercy.   The music is often performed by volunteers and amateur choirs, but its common for bigger and wealthier parishes to have professional musical staff.    [Read more…]

Delighting in Plainness

Nephi famously delights in plainness, pledging to speak the doctrine of Christ “according to the plainness of [his] prophesying.” Surely the core doctrine of baptism—the topic of Nephi’s discussion—needs to be presented in a straightforward manner, lest confusion arise. And yet, what does “plainness” mean, exactly? Does plainness require that a speaker eschew all ornamentation, or style? Beyond that, what does it mean to “delight in plainness”? [Read more…]

Eliza R. Snow and the Gospel of Work

Eliza R. Snow reveals much about herself when she describes her early search for religion:

[W]hen I asked, like one of old, “What must I do to be saved?” and was told that I must have a change of heart, and, to obtain it, I must feel myself to be the worst of sinners, and acknowledge the justice of God in consigning me to everlasting torment, the common-sense with which God had endowed me, revolted, for I knew I had lived a virtuous and conscientious life, and no consideration could extort from me a confession so absurd. [1]

By claiming freedom from hell on the basis of her own merit, Snow transgressed against a standard trope of Christian autobiography dating back to Augustine’s Confessions and evidenced in the title of John Bunyan’s 17th-century classic Grace Abounding to the Chief of Sinners: instead of a life radically transformed by God from the grossest depravity to a state of grace, she understood her life as basically good and freely oriented toward God. From the perspective of Augustinian or Calvinist orthodoxy (not necessarily shared, to be sure, by other participants in the Second Great Awakening), Snow’s position might appear in the suspect guise of works-righteousness. Rather than claim to merit heaven by her works, I believe that she worked diligently to show her love for God. This energetic life of serving God by serving other people is why we honor her today, on the anniversary of  her death.

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Reader Question Box #9: Is Sufjan Stevens Mormon?

Sufjan wings

Sufjan Stevens

Reader Question Box is a series where we answer questions that show up in our website traffic monitoring statistics as Google search terms that led people to us. Copious oddities are to be found in the search term logs, and some worthwhile questions. (In case you missed our previous editions: #1, #2, #3, #4, #5, #6, #7, #8)

Questions: “sufjan stevens lds?” “is sufjan stevens mormon”
Answer: Oh, I wish it were so! However, it is easy enough to prove that he isn’t:

As you can see in the photo, Sufjan has wings. We all know that Mormon angels don’t have wings. Therefore, we can say decisively that Sufjan is not Mormon. QED.
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Call to the Brain Trust: New ‘Mormon Moment’ as Jimmer enshrined in Lil Wayne lyric

Forget running for president or having a show on Broadway–Mormonism’s next big moment is here: BYU athlete Jimmer Fredette has been featured in Lil Wayne’s newest song in the following lyric:

“I got a chopper in the trimmer, shootin’ like Jimmer.”

This website helpfully translates:

Lil Wayne is describing his “chopper” — which is a gun for those that aren’t fluent in hip-hop — by saying it shoots like Jimmer

I think we should do our part to foster more positive press and public awareness of Mormons by encouraging more Mormon-theme lyrics to be included in popular songs. Jimmer has the advantage of being easy to rhyme, but I think we could come up with many other helpful 1- or 2-line suggestions for vocal artists to adopt.
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