Mormon Music – Finding Hymns for the Book of Mormon

Searching for Mormon music until recently meant finding musicians that were either well known within the Church, or not widely recognized outside. That’s now beginning to change.

Modern Mormon composers appear determined not only to challenge cultural stereotypical of their faith, but also pop music’s stereotypical libertine cliches.

Early hymns

Hymns are an integral part of Mormon worship. They help us recall stories from the Book of Mormon and convey fundamental principles of religion. Hymns often incorporate music, but early Latter Day Saint hymnals were text-only; until Emma Smith published her book of hymns notated with musical notation in 1835, hymns were simply memorized or sang to tune books.

Many contemporary Mormon composers do not use music to define Mormon identity in the same way Leroy Robertson, Crawford Gates and Merrill Bradshaw did; most opt instead for using neoromantic tonality as their compositional lingua franca, featuring easy keys with minimal hand position changes and moderate tempos that make it suitable for singers and pianists – ideal resources for church members with music callings as well.

Lined out hymns

As hymns first emerged in the 1700s, their use initially caused controversy. Lining out (where one singer sings one line at a time while members of a congregation repeat them back to him/her) became particularly widespread among slave communities.

And yet trained musicians favored traditional singing whereby choir members sang from written music without using the lining out technique to break up hymn tunes – which they considered counterproductive to their power.

This fascinating documentary, first released in 1977 on LP and now reissued on CD, offers an in-depth examination of Old Regular Baptist music from Kentucky. Featuring field recordings of hymn lining out by Old Regular Baptist (also called Primitive or Baptist) church members in Kentucky, its resultant music blends together powerful vocal leadership from its leader with expressive congregational singing to produce memorable melodies with growls to cries elongated melodies that provide rich expressive effects from growls to cries elongated melodies that infuses every note with rich expressive effects from growls to cries! In depth liner notes include essays from moderator Elwood Cornett as well as essays regarding Old Regular Baptist worship practices by moderator Cornett and Prof John Wallhausser regarding Old Regular Baptist worship practices by moderator Elwood Cornett on worship practices by moderator Elwood Cornett as well as on Old Regular Baptist worship practices by moderator Elwood Cornett and Prof John Wallhausser respectively on Old Regular Baptist worship practices by moderator Elwood Cornett and John Wallhausser respectively on Old Regular Baptist worship practices and Professor John Wallhausser provides additional commentary regarding Old Regular Baptist worship practices by moderator Elwood Cornett while Prof John Wallhausser from both Elwood Cornett as well as Wallhausser concerning its theological content by Prof John Wallhausser and Prof John Wallhausser Wallhausser’s John Wallhausser Wallhausser from an academic standpoint by Prof John Wallhausser Wallhausser theology Prof John Wallhausser John Wallhausser as Prof John Wallhausser Wallhausser Wallhausser respectively and Prof John Wallhausser respectively and Prof John Wallhausser as their theology Professor John Wallhausser respectively and Prof John Wallhausser as Prof John Wallhausser’s John Wallhausser respectively by Wallhausser respectively while Wallhausser providing essay’s viewpoint respectively on John Wallhausser respectively from Prof John Wallhausser respectively Prof John Wallhausser who writes on both on Wallhausser respectively as Prof John Wallhausser respectively John Wallhausser himself with their respective writing both provides his essays e. Wallhausser both. John Wallhausser respectively! Wallhausser as John Wallhausser’s John Wallhausser in particular for some theology by Prof John Wallhausser John Wallhausser’s Professor Wallhausser which his the other’s works himself (w /Wallhausser respectively. Wallhausser; Wallhausser as professor John Wallhausser himself!). Wallhausser on worship practices/ and Wallhausser’s academic thoughts (for their contributions respectively as prof John Wallhausser’s on both. Wallhausser has him from John Wallhausser in order to write essays. Wallhausser). Wallhausser’s his theor in his extensive liner respectively regarding Wallhausser on Wallhausser). Wallhausser). Wallhausser). Wallhausser). Wallhausser/) who’s. Wallhausser). Wallhausser). Wallhausser). Wallhausser). Wallhausser). Wallhausser). Wallhausser). Wallhausser). Wallhausser on their individual Theology about him/Wallhausser to completeness Wallhausser’s on Old Regular Baptist worship practices/ Wallhausser’s notes which notes as moder. Wallhausser’s notes.

Contemporary hymns

The Latter-day Saint Church boasts a longstanding musical tradition. While some hymns may be familiar to other Christian choirs, many also pertain to doctrine unique to LDS Church doctrine like premortal existence and Book of Mormon readings; or relate to pioneer experiences from church history. A number of these songs have even become mainstream repertoire among other Christian choirs.

While some might view modern worship music as less sacred than traditional hymns, others contend both styles play an equal role within a church setting. Their goal should be to bring its members closer together by encouraging worshipping together and sharing spiritual experiences.

The Church of Jesus Christ of Latter-day Saints features various hymnals and songbooks, such as Latter-day Saint Psalmody, Manchester Hymnal, Deseret Sunday School Union Songbook and Primary songbooks for children. However, in 1908 nine mission presidents joined together to develop a simpler hymnal that would reduce costs associated with keeping multiple songbooks on hand.

Contemporary music

Mormon composers who openly expressed their religion through music have only recently become more well known beyond LDS circles – but that’s changing fast.

While some 20th century Mormon composers displayed their religious identities through musical compositions that conveyed explicitly religious messages or relied upon scriptural and church historical narratives, others found success within commercial music industries by cultivating more individualistic styles of writing music.

No matter the changes, Mormon music remains relatively insular. Glen Nelson–a multitalented LDS impresario/publisher/librettist who manages Mormon Artists Group in New York City–is trying to change that with his Mormon Artists Group initiative in New York. He keeps tabs on current Mormon composers internationally and actively promotes their works internationally, which has introduced several to wider musical world. One composer in particular who’s making waves nationally: Mindy Gledhill