North Dakota a hotbed of revivalism? Not exactly, and I wasn't really even looking to find out anything about revivalism in Grand Forks. A few days ago, while looking at the website for the Chester Fritz Library, I came across their digital collections. For those who may be unfamiliar with digital history, it involves the digitizing of historical documents and photographs. Some digital history sites are free, while others require subscriptions to access the documents. One of the links on the digital history section of the library takes investigators to several W. P. Davies newspaper articles from 1930-1944 for the Grand Forks Herald. I thought I'd give it a shot and look up infor on the church that I've been studying in my research.
I clicked the search button, and low and behold, 16 documents appeared. The first one did not mention my search parameter, but it did lead me to an interesting article published on July 1, 1930, on an upcoming revival to be held by Billy Sunday. Revivals have long proved controversial in Christian circles, with those experiencing them believing them a spectacular moving of the Holy Spirit and those against them believing revivals nothing but an expression of unbridled "enthusiasm" or "emotionalism." This dichotomy of opinion was quite evident during the Great Awakening with Jonathan Edwards hailed alternately as either a great leader of a great revival or a great leader of a great enthusiasm.
To be fair, the author of the article, Mr. Davies did not appear to be against all revivalism. He conceded that revivals such as those held by Moody and Sankey, "while marked by deep emotionalism, were conducted with earnestness and every evidence of sincerity." Then came Billy Sunday. Davies did not much care for the "acrobatics" that Sunday often exhibited during his sermons. Nor did Davies appreciate Sunday's use of "the methods of big business" in conducting his meetings.
While this editorial made it evident that Davies was no fan of such revivals, it becomes apparent after reading another editorial a short time later that there was a reason for his opinion of Sunday and his methods. That story will be left for another installment.
Showing posts with label Dwight L. Moody. Show all posts
Showing posts with label Dwight L. Moody. Show all posts
11 June 2011
Church Music part II
I recently wrote a post on a historical topic that I find of quite a bit of interest, church music. In that post, I pointed out that some considered Jonathan Edwards a bit radical for his use of hymns in church in an eighteenth-century society that emphasized only the singing of psalms from the biblical book of Psalms. This topic brought to mind an article I recently read in Baptist History & Heritage on the topic of Baptist hymnody and revivalism.
Baylor University professor of Music (somewhat ironically named) David W. Music wrote on "The Baptist Influence on Revival Music/The Revival Influence n Baptist Music" in Baptist History & Heritage's Summer/Fall 2010 edition. In this article, Music argued that the wave of revival music from the Second Great Awakening failed to move most Baptists, who as staunch Calvinists tended to view the revival with a bit of suspicion. However, as this strict Calvinism waned, so did Baptist opposition to revivalism. During the era of Dwight L. Moody, many of the new "gospel songs" found their way into the Baptist repertoire.
One of the interesting passages in this article on Baptists and revival music, was the definition of the gospel song: "The gospel song became the 'typical' revival music of the late nineteenth century because it contained a simple text that avoided theological sophistication in favor of direct appeal for salvation or renewed commitment, linked with a popular musical style that appealed to the masses." (40) Some of the songs cited by Music include such "traditional" standards such as "Nothing But the Blood," "Shall We Gather at the River," and several songs by Methodist Fanny Crosby that had music supplied by Baptist William Howard Doane (among the titles mentioned were "To God Be the Glory" and "Rescue the Perishing"). Other popular gospel songs written by Baptists were "Bringing in the Sheaves" and Throw out the Lifeline." (40-41)
What makes this article so interesting is the similarity in the argument against many "contemporary" songs: i.e. simple lyrics put to popular music. Few would argue that the songs listed above should be removed from the hymnal, but it raises the question of whether newer songs, such as "Shout to the Lord" and others of its style and provenance will make the hymnbooks of the future. If they do, there is also the question of whether the more traditional element in churches will protest. Music also pointed out that Baptists have tended to be more open to gospel songs and contemporary songs (although they have kept such old hymns as "All Hail the Power of Jesus' Name" and "When I Survey the Wondrous Cross," while more liturgical denominations have tended toward traditional hymns. This was definitely an interesting article on a very interesting topic.
Baylor University professor of Music (somewhat ironically named) David W. Music wrote on "The Baptist Influence on Revival Music/The Revival Influence n Baptist Music" in Baptist History & Heritage's Summer/Fall 2010 edition. In this article, Music argued that the wave of revival music from the Second Great Awakening failed to move most Baptists, who as staunch Calvinists tended to view the revival with a bit of suspicion. However, as this strict Calvinism waned, so did Baptist opposition to revivalism. During the era of Dwight L. Moody, many of the new "gospel songs" found their way into the Baptist repertoire.
One of the interesting passages in this article on Baptists and revival music, was the definition of the gospel song: "The gospel song became the 'typical' revival music of the late nineteenth century because it contained a simple text that avoided theological sophistication in favor of direct appeal for salvation or renewed commitment, linked with a popular musical style that appealed to the masses." (40) Some of the songs cited by Music include such "traditional" standards such as "Nothing But the Blood," "Shall We Gather at the River," and several songs by Methodist Fanny Crosby that had music supplied by Baptist William Howard Doane (among the titles mentioned were "To God Be the Glory" and "Rescue the Perishing"). Other popular gospel songs written by Baptists were "Bringing in the Sheaves" and Throw out the Lifeline." (40-41)
What makes this article so interesting is the similarity in the argument against many "contemporary" songs: i.e. simple lyrics put to popular music. Few would argue that the songs listed above should be removed from the hymnal, but it raises the question of whether newer songs, such as "Shout to the Lord" and others of its style and provenance will make the hymnbooks of the future. If they do, there is also the question of whether the more traditional element in churches will protest. Music also pointed out that Baptists have tended to be more open to gospel songs and contemporary songs (although they have kept such old hymns as "All Hail the Power of Jesus' Name" and "When I Survey the Wondrous Cross," while more liturgical denominations have tended toward traditional hymns. This was definitely an interesting article on a very interesting topic.
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