Teach Me to Walk in the Light and Other Childhood Favorites. Musical recording. By the Mormon Tabernacle Choir. Mormon Tabernacle Recordings, 2012. Audio CD, $14.99; MP3 music, $8.99.

This chapter discusses the activities of the Mormon Tabernacle Choir under Spencer Cornwall's conductorship. Cornwall began his tenure by refashioning the Choir's sound. He summoned each Choir member to his office at the McCune School of Music for them to reaudition. By the end of the auditions, Cornwall had cut the membership rolls by 187 from the levels at Anthony Lund's death. Cornwall brought not only new standards but a new set of ideals, attitudes, and rehearsal techniques. In the Choir's tone and delivery, Cornwall seemed to care most about dynamics, straight tone, and enunciation. As for the pacing and mood of rehearsals, Cornwall's public-school career guided his style. This chapter first considers the Choir's conflict with the Utah Symphony and University of Utah choirs before describing its radio and television broadcasts, repertoire, recordings, concerts, and international tours with Cornwall at the helm.

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The Power of the Air

10.5406/illinois/9780252039089.003.0004 ◽

2017 ◽

Author(s):

Michael Hicks

Keyword(s):

Salt Lake ◽

Mormon Tabernacle Choir ◽

High Church

This chapter discusses the activities of the Mormon Tabernacle Choir under conductor Anthony Lund, with particular emphasis on its foray into broadcasting. In October 1915, the Salt Lake Telegram reported that Evan Stephens was being fired. A high Church committee, it said, had notified the First Presidency that it was time for Stephens to go in favor of a younger and presumably more flexible, less autocratic man. Lund was chosen as the new conductor, with Brigham Cecil Gates as his assistant. This chapter first considers Stephens's resignation as Choir conductor before describing Lund's initiatives for the Choir. It also looks at the Choir's repertoire and recordings as well as its television and radio broadcasts. Finally, it cites the appointment of Spencer Cornwall as Lund's successor.

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Acoustic techniques to trace the origins of a musical recording

Journal of the Forensic Science Society ◽

10.1016/s0015-7368(93)72946-1 ◽

1993 ◽

Vol 33 (1) ◽

pp. 33-37

Author(s):

D.M. Howard ◽

A. Hirson ◽

G. Lindsey

Keyword(s):

Acoustic Techniques ◽

Musical Recording

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The Production of National Racial Innocence

Mormonism and White Supremacy ◽

10.1093/oso/9780190081768.003.0004 ◽

2020 ◽

pp. 85-110

Author(s):

Joanna Brooks

Keyword(s):

Mass Media ◽

People Of Color ◽

American Christianity ◽

White American ◽

Mormon Tabernacle Choir ◽

Moral High Ground ◽

Taking Responsibility

Since when and on what grounds have white American Christians declared themselves innocent of the sins of their generations? When did white American Christianity excuse itself from grappling with the most serious and far-reaching human abuses to make as its object instead the perpetuation of an undisturbed and unchallenged hold on continuity and capital? This chapter examines how mass media contributed to the production of white racial innocence by featuring spectacles of white patriotism and “wholesomeness” including, prominently, Mormon performing acts. The Mormon Tabernacle Choir and the Osmonds enacted a spectacle of innocence that normalized anti-Black racism as an unremarkable element of a “wholesome” morality. Their performances engaged audiences in a silent agreement to “forget” racism and to claim a moral high ground without taking responsibility for the oppression of people of color.

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