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Title Volume 34, Number 3, 4, Fall/Winter 2001
Source Printed journal
Subject Periodicals; Mormons; Religious thought; Philosophy and religion
Description Independent national quarterly established to express Mormon culture and examine the relevance of religion to secular life. It is edited by Mormons who wish to bring their faith into dialogue with human experience as a whole and to foster artistic and scholarly achievement based on their cultural heritage. The journal encourages a variety of viewpoints; although every effort is made to insure accurate scholarship and responsible judgment, the views expressed are those of the individual authors and are not necessarily those of the Mormon Church or of the editors.
Publisher Dialogue Foundation, P.O. Box 58423, Salt Lake City, Utah 84158-0423
Scanning Vendor Backstage Library Works - 1180 S. 800 E. Orem, UT 84097
Contributors Davies, Douglas J.
Date 2001
Type Text
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Language eng
Rights Management Digital image, copyright 2005, Dialogue Foundation. All rights reserved.
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Title Page 79
Identifier V34N0304-2089_Page 79.jpg
Source Dialogue: Vol 34 No 3, 4
Description Kear: The LDS Sound World and Global Mormonism 79 3. Another musical feature of many, but not all, Protestant congregations was the use of an instrumental accompaniment to worship. The practice was not routinely desirable or even possible in Christian worship forms at that time and in that locale, the organ being the most popular instrument. The Church of Jesus Christ of Latter-day Saints continued this tradition and emulated the European custom of building large organs. For example, the magnificent Tabernacle Organ in Salt Lake City was built in 1867 by the British-born Joseph Ridges. Many Mormon pioneers from Britain brought their musical instruments with them to Nauvoo in the 1840s, and then across to the Salt Lake Valley. As the LDS church became more prosperous, the organ established itself as the principal instrument for accompanying worship. 4. Early Mormonism utilized its own, unique and revealed liturgy and fitted it to pre-existing patterns of worship from the Protestant tradition. Thus morning and evening services, a family-based Sunday School, and a simple eucharistic celebration now called Sacrament Meeting and held only in the evening, were quickly established as the norms of LDS worship. B. The De-Protestantization Process (including Internationalization) The initial evidences of a general Protestantization described above, coincide broadly with Mauss's periods of "Refuge" and "Assimilation,"4 covering the second half of the nineteenth and early twentieth centuries. However, the seeds of a musical de-Protestantisation were planted as early as 1870, under Brigham Young's leadership. The considerable influence and tutelage of British immigrant music professors such as John Tullidge, George Careless, and later, Evan Stephens prevailed among the Saints. The practice of borrowing hymn tunes and words from other denominations all but ceased. Latter-day Saint composers were encouraged to write original tunes for their hymnals, as reflected in the 1927 Latter-day Saint Hymns, which incorporated the earlier unofficial publication Songs of Zion. This bias against borrowed music and words was only temporarily arrested for about two decades following the deaths of Evan Stephens (1930) and George Careless (1932)—the "old guard" of LDS music—as shown by the insertion of some popular Protestant hymns in the church's 1948 publication, Hymns.5 In the twentieth century, the church leadership took certain deliberate actions aimed at their musical culture which further distanced themselves from Protestant trappings. In May 1946, the First Presidency6 prohibited the 4Armand L. Mauss, The Angel and the Beehive (Urbana, 111.: University of Illinois Press, 1994). 5Hymns (Salt Lake City: Deseret Book Company, 1948). 6See Michael Hicks, Mormonism and Music: A History (Urbana, 111.: University of Illinois Press, 1989), 139.
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