School of Music Quotes

Bradshaw, Merrill.

"The Articles of Faith--Composer's Commentary." BYU Studies 3(3,4), Spring/Summer 1962.

As one might expect, the basic desire of almost any composer beginning a new work is to create a good work which will give some meaningful experience to his audience. From this point he begins, and to this point he relates every decision he makes about every note he writes before it finds its way into the final copy. The criteria he uses in making these decisions are crucial to the work of art at every stage of its existence, and they determine the final character of the work. This paper is an attempt to recall, after the fact, just which criteria were significant in the decisions I made in setting the text of "The Articles of Faith" to music.

Before the idea of this work became sufficiently well defined to have a title and a text, it existed as a rather vague urge to create a good "L.D.S." work of art. In trying to bring this urge into sharper definition, I found myself comparing the artistic characteristics of works previously done by Mormon composers with religious works of art in general. Even now, more than a year after making the comparison, I feel that the image of Moroni trumpeting the message of the restoration to the world represents the character of most of what has been done by L.D.S. composers. To be fair to other L.D.S. composers I must point out that I find no problems with this type of music. I believe that much of our Mormon heritage is bound up in the proselyting of the Gospel. That our composers should be attracted to it is only natural. But deep down inside me was the secret desire that we should also try to depict some of the more intimate experiences of Mormonism. There are emotions in Mormon experience that belong in the heart rather than on the mouthpiece of a trumpet, emotions beclouded by tears in the eyes and fire in the breast until words become sacrilege and actions fumble awkwardly through their embarrassment at their own inadequacy. Other religions have given birth to profound expressions of their most personal, sacred yearnings; should not Mormonism also be represented in its intimate, contemplative aspects? (pp. 73, 74)

BYU Voice Faculty

Matthew Bean, Marjo Burdette, Arden Hopkin, Marion Miller, Shirley Westwood, Randy Boothe, Marilyn Gneiting, Gayle Lockwood, Clayne Robison, Barry Bounous, Houston Hill, Rosemary Mathews, Lila Stuart. "Voice Students of the University, Part II." The Nats Journal, January/February 1993, pp. 18-21.

For years our professional response to one another in the voice area at Brigham Young University had resembled a style typical of our various mentor institutions. That is, we were capable of a show of friendship and mutual respect on the surface of things; but behind the studios' closed doors we tended to harbor convictions that our techniques, teaching styles, and even tonal concepts differed so radically from one another that open and honest communication on these most important issues of our teaching task was probably best avoided. We already felt too much moral discomfort at our veiled animosity to risk the greater trauma of confrontation. . . . Into this unfortunate but typical environment came one inspired suggestion: "Instead of the new voice chairman using all the budget money to fly to the 1983 NATS convention in Louisville, why don't all the tenured voice teachers pile into a university car and spend our Christmas vacation crossing the country and back?" . . . As we traveled and talked, one key acknowledgment led us on:

Notwithstanding the close personal relationship which usually develops in the private voice studio, 'our' students are not really our personal students, but rather students of the University.

From that resounding truth evolved three corollaries:

1. All the university's resources should be available to each student who pays the university's tuition--including every teacher's best input to that student. . . .
2. Since most of our students will likely make most of their vocally-related income through teaching voice, it seemed in their best interest to have close experience with several teaching styles during their time at the university. . . .
3. Our students are not to be viewed as extensions of our own adequacy; we have no more responsibility to them than the best teaching we can muster. . .

Dayley, K. Newell.

"Music & the Quest for Truth." BYU Today, August 1983.

Music is a wonderful gift--wonderful because it can touch our deepest feelings and, if it is appropriate, put us in harmony with the Spirit of the Lord. Music composed and performed for the edification of others may actually lead both musicians and listeners toward a discovery of truth. Unfortunately, there is a lot of opposition to righteous musical activity. When one attempts to promote something consistent with gospel principles, something capable of blessing the lives of others, there is always resistance, often from unexpected places, that can be discouraging. Seeking and sharing truth through music is not an easy path. It's much easier to follow a more convenient, popular way. I sense that BYU is destined to become more than we, as musicians and listeners, are allowing it to become. The music we promote, while not homogeneous in subject and style, should at least be consistent with the values and principles found in the gospel of Jesus Christ because only that kind of music has the power to aid us in a quest for truth.

Hicks, Michael.

"Music." In Daniel H. Ludlow (Ed.), Encyclopedia of Mormonism (New York: Macmillan, 1992).

Throughout the Church's history, music has always permeated the assemblies of the Saints and has energized their pursuit of spiritual and cultural betterment. . . .

Although some American Christian churches historically have held conflicting views on music, a revelation to the Prophet Joseph Smith in July 1830 (D&C 25) likened "the song of the righteous" to prayer, confirming the propriety of vocal music for worship. . . .

President Brigham Young set the tone for official LDS statements on music, defining it as a "magic power" that could "fill the air with harmony, and cheer and comfort the hearts of men, and so wonderfully affect the brute creation" (JD 1:48). Since his time, General Authorities of the Church have continued to praise music as a soothing influence, a purifier of thought, and a uniter of hearts. The type of music most consistently endorsed has been sacred vocal music prepared especially for LDS worship. . . .

A few stylistic issues have surfaced in the twentieth century. Some Church authorities have advised against certain popular styles of music, citing their loudness, their rhythmic intensity, and the indecency of some of their lyrics; members are counseled to be wise in selecting their recreational music. Questions also have been raised over the propriety of using styles of music found outside the hymnal in worship services.

Manookin, Robert P.

"Thoughts on Mormon Music." Latter-day Digest 1(1), 1992, pp. 13-15.

LDS composers and performers [must] inquire of the Lord in all they do, listen to or feel the prompting direction of His Spirit, and follow it. Remember that all you do must be to His glory, and must have His approbation; and you must be willing that He be present and unoffended with all you do, whether church-oriented or professional This may be what Elder Neal A. Maxwell calls "hard doctrine," but one which is essential if our avowed pursuit of exaltation with an eye single to God's glory is at all serious. (p. 15)

. . .

With all that the world has achieved and is achieving musically, there is much from which we may and must take example, impetus, and instruction. But it is well to remember and to keep in the forefront of our thinking that it is our responsibility not to compete with the world, nor to join it, but to use all the good that the world provides, modified by our own input which must bear the stamp of the Holy Ghost's direction, as a foundation for the structure we are helping to build. And that structure is the kingdom of God. President Harold B. Lee once said, "If it's not for eternity, forget it!" (p. 15)

Nibley, Reid.

"Facing the Music: The Challenges Ahead for Mormon Musicians." In Arts and Inspiration, edited by Steven P. Sondrup. (Provo, UT: Brigham Young University Press, 1980), pp. 110-114.

Obedience opens up the doors for creativity; it enhances creativity. Most people think of obedience as restriction, but it is not restriction at all. Rather than being the chain that binds us, obedience is the key that releases us. Actually, disobedience is what binds us, because it locks us in to what we are now and cuts us off from the inspiration of the Spirit and from further progression. (p. 113)

Slaughter, Jay L.

The Role of Music in the Mormon Church, School, and Life. Unpublished doctoral dissertation, Indiana University, January 1964.

The purpose of this study was three-fold: (1) to identify the ideology of music and music education in The Church of Jesus Christ of Latter-day Saints, (2) to survey the history of music and music education in the Church, and (3) to study the practices and procedures in music and music education in the Church today.