Harold Byron Hannum
1901 - 1985
It is at the organ, as recreator of vast "palaces of music" - so Browning would have it - that professor Hannum most effectively expresses himself. Master of the art and science of music, votary of the highest development of the classics, he has long been esteemed for his cultural influence on religious services and in the department he heads, as well as for his own achievements.
In his lifetime, Harold Hannum
became much more than a keyboard performer with "remarkable skill in
technique and an unusually delicate touch," as described in the
Harold was born in
He started his teaching career at
In 1929 Hannum
accepted an invitation to teach in the music department at
On a personal level, Hannum
was known for his genial disposition, his sly wit, and a sense of humor that on
occasion led to delightful repartee. And as busy as he was during these years,
he completed an M.Mus. at
In 1944 Hannum accepted a position at La Sierra College, now La Sierra University, where he would serve as organist and chair the music program for more than two decades. A school established only 22 years earlier, it became an accredited four-year college during his first year there.
One of his first challenges when he arrived
was the organ used in the church services, a three-manual theater organ with a
"horseshoe"-shaped console from the Walt Disney Studio in
Under his leadership the department flourished as he upheld those high standards and recruited an outstanding faculty. Hannum's presence on the organ bench and influence on other organists in the Adventist church led to higher standards in worship music at LSC and at other schools and churches. In 1955, when the college yearbook was dedicated to him, it observed that in "wielding his power upon the organ, massive titan of sound, he ruptures the air with tone upon tone eliciting depths of latent emotion freeing the soul in release." The final inscription on the page reads "To Professor Harold B. Hannum, who both perceives and interprets beauty . . . ."
It was this openness in dealing with music from an aesthetic and cultural perspective that made him a thoughtful and effective teacher not only in organ, but also in theory and music appreciation classes. Hannum's ability to quietly articulate his views without resorting to dogmatic pronouncements and judgments also enabled him to reason in an effective and down-to-earth way about music in life and worship with those who held other views. He observed in his first book, Music and Worship:
The selection of music for religious services is not a matter of right and wrong. It is a matter of culture and taste. Tastes change and cultures differ. The goal is to use, as far as possible, the songs considered best in the culture in which one lives.2
The church has not only used one kind of music, but has made use of many styles in its services . . . no one kind of music meets the need of all kinds of people. According to his background, culture, and training, an individual comes to associate particular religious feelings with particular kinds of music. 3
While these statements standing alone could be used to justify the idea that any kind of music can be used in worship, Hannum clarified with a caveat in a later book, Let the People Sing:
problems concerning appropriate church music would be easier to solve if we
were to realize that not all styles of music, no matter what the culture, are
suitable for the
And in his view the matter of making good choices in this area was a personal matter, one that required honest answers to a series of questions:
How does my choice affect my spiritual life?
Does the music exalt and glorify God?
Does it sound more like unsanctified secular music or like music that inspired religious thoughts?
Is the music primarily entertaining and pleasing to me, or does it lead me to contemplate spiritual themes?
Does the music seem appropriate to the atmosphere of the church and does it promote the worship mode? 5
This reasoned approach to dealing with
challenges in worship music sometimes frustrated those who wanted a simple pronouncement
from someone who in his later years had become a living legend, "an
authority" on worship music. I observed this in a class in hymnology that
I took from him at
Hannum wrote three books on music and worship, drawing on his many years of experience as a thoughtful church musician and music teacher and administrator. Because the books deal with those larger issues, they are timeless, allowing his voice to continue beyond the end of his life as a quiet, but effective force in the ongoing discussion about music in worship and life.
Hannum retired in 1978. He was residing in
2. Music and Worship, Harold B. Hannum, Southern Publishing Association ,1969,p. 91
3. Ibid,, pp. 10,11.
4. Let the People Sing, Harold B. Hannum, Review and Herald Publishing Association, 1981, p. 17.
5. Ibid, p. 18.
Sources: References cited in
endnotes; Obituary, Adventist Review, 4 April 1985; Cuyahoga County Marriage
Records (parent's marriage); !910 U.S. Federal Census; 1924 Southwestern Junior
College yearbook, Mizpah; numerous articles
and write-ups in Washington Missionary College The Sligonian,1920-22
(student years) and 1924-1929 (quote is from 1 January 1927 Sligonian);
numerous articles and write-ups in EMC publications, The Student Movement
and The Cardinal, 1929-1944; Numerous La Sierra College articles
and publications, The Criterion and the Meteor, 1944-1978. Lake Union Herald,
Books by Howard Hannum
Music and Worship, Southern Publishing Association, 1969
The Christian Search For Beauty, Southern Publishing Association, 1975
Let the People Sing, Review and Herald Publishing Association, 1981 At the 1998 SCI