The Nauvoo Music and Concert Hall

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Although it is little known today, the Nauvoo Music and Concert Hall was an important part of Nauvoo’s cultural history. Joseph Smith designated a spot for it near the temple, the spiritual landmark of the city. The Saints completed the building after Joseph Smith’s death, with funds raised by the Nauvoo Music Association. Many musical concerts were given to packed crowds, and the building was used for meetings of the Apostles, the Seventies, and women’s groups. That the Saints living on the American frontier would care to build a large hall that was acoustically designed for music performance is evidence of the value they placed in cultural refinement. The Saints had to abandon Nauvoo, but the events in that hall affirmed the Saints’ love of music that continues today.

Mormon Folk Song and the Fife Collection

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The author reviews Austin Fife’s collection of Mormon folk songs according to the criteria of what makes a song a folk song. Although the collection is rather disorganized and over half of the collected songs are not true Mormon folk songs, Fife’s work is still a valuable work. Austin Fife’s collection of hymns, songs, and spoken word is at the Library of Congress; audio tapes were sold to Brigham Young University.

John Tullidge

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John Tullidge’s pedantic and sometimes scathing musical criticisms may seem out of place in pioneer Utah. Although music had played a role in the early Latter-day Saint community, its purpose was mainly for enjoyment. Tullidge, on the other hand, called for excellence in both selection and performance. His first review, written only days after he had crossed the plains with the pioneers, was met with varying response from the public. Tullidge’s critiques, however, were unique, and he was a singular character in the history of music criticism in early pioneer Utah.

Music Education in The Church of Jesus Christ of Latter-day Saints

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It is the purpose of this paper to describe briefly some aspects of two phases in the history of musical practice in the Church—recreational music and music education. Recreational music of the early history of the Church will be considered first; however, the principal emphasis will be upon musical practices related to a neglected area of Mormon educational history, the period of the Church academies.

The Articles of Faith—Composer’s Commentary

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The author and composer Merrill Bradshaw explains some of the choices he made in setting “The Articles of Faith” of the Church of Jesus Christ of Latter-day Saints to music. He shares the impetus behind and the symbolism within this five-movement piece for a cappella voices. See the PDF for the musical score.

Frontier Fiddler

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A pioneer rakes brush, saws wood, drills wells, ploughs fields. His role in this world resembles that of a biblical prophet, who lays a highway in the desert, makes the crooked straight and the rough places smooth. Or, to put it in other terms, a pioneer edits the wilderness.

Such a person was Kenner Kartchner, a third-generation pioneer of the American Southwest who left some quite literate memoirs. These have been lovingly preserved and edited by his grandson, Larry Shumway, in the book Frontier Fiddler. That Kartchner was a pioneer/writer and Shumway the grandson/editor are facts that determine the strength and the weakness of this book. The strength comes in the direct, image-filled prose that pioneer life seems to have bequeathed Kartchner and that descendant Shumway refuses (wisely) to obstruct. The weakness is that the pioneer work ethic often leads Kartchner to eschew self-reflection and intimacy in his prose in favor of a rather detailed employment history. This penchant sometimes results in a mass of work-related anecdotes that Shumway appears reluctant to trim where other, nonfamilial, editors might (wisely) have been more ruthless.

Mormonism and Music

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Michael Hicks’s Mormonism and Music: A History is a veritable feast of information on a subject about which many people are passionate. Plenty of meaty courses are served up; even the appetizer/preface is a full course in itself. Some tasty trivia clears the palate between courses, and the epilogue is a wonderfully tart dessert. This engaging book leaves one with a satisfied but not-too-full feeling.

Of course, I know that tastes in food are about as disparate as tastes in music, and some may take issue with certain points presented by the authors. The book goes beyond a simple recitation of historical facts, but it is precisely the author’s bias and editorializing that make it such good reading. Hicks is unrestrained in his comments about many personalities, be they authors, composers, musicians, general authorities, or prophets. I hope all the quotations (some potentially but delightfully controversial) are given in context. They reconfirm the fact that music, because it is such a passionate and personal thing, always engenders strong feelings.