thechurch and music publication in australia · in the usaand kevin mayhew publications in the uk....

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The Church and Music Publication in AustraliaDIANNEGOME

Convert>ations with composers of quality choral and congregational church mu-sic for the mainstream denominations invariably evoke despairing commentsabout the dearth of publication opportunities.in this country. Certainly, from theAustralian publishing perspective it appears that the quality church music mar-)<et is simply not large enough to warrant the production of resources akin tothat of firms such as Oregon Catholic Press and the (Lutheran) Concordia Pressin the USA and Kevin Mayhew Publications in the UK. This observation invites .a number of questions: What alternative publication avenues are available toAustralian composers of church music? Is publication opportunity withinAustralia a problem across all genres of church music and across the music of allChristian traditions? Was there ever a golden era of Australian church musicpublishing? What factors have assisted successful publication ventures in churchmusic? The ensuing overview of the church and music publication in Australiawill attempt to shed some light on these questions while examining the relation-ship between publishers and particular churches within a historical overview.The discussion draws widely from data collected over the past few years byGeoffrey Cox and myself for the ongoing project 'Church Music in Australia'.'The focus will be on print publication although recognition is made of the grow-ing importance of other modes of publication: overhead transparencies, cassette,CD and video recordings and ·online materials, such as the Cyber Hymnal.' Al-though organ and other instrumental music plays an important· role in manychurches, it is excluded from the present discussion. .

It must be acknowledged from the outset that for virtually every denomina-tion of the church (the Qyaker tradition is the notable exception) music is an .essential component of corporate worship. And given the ever-changing natureof most church groups, musical needs and tastes may also change from genera-tion to generation. Thus the demand for new music and/or revival of older musicis for many churches an ongoing phenomena which could be expected to resultin ongoing projects in music publication.

Denominations' .Church music in this country embraces a vast kaleidoscope of traditions. In 1995Rowland Ward and Robert Humphreys surveyed as many as 213 differentChristian denominations, which they categorise as follows: Eastern Orthodox,Oriental/ancient Eastern Christians, Western/Roman Catholic, Lutheran, Pres-·

1. The project is based at Australian Catholic University and has received Australian ResearchC0':lncil small grant funding and Australian Catholic University large grant funding.2. See <http://www.cyberhyrnnal.org> [As at 1/3/2002]

BSANZ Bulletin 25,3 &4,2001,53-67

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54 Bibliographical Society ofAustralia & New Zealand Bulletin

byterian and Reformed, Anglican, Uniting Church in Australia, Evangelicalprotestant, Church of Christ, Apostolic, Adventist, Pentecostal, Home churchesand Maori prophetic movements.' The 1991 Australian Census recorded reli-'gious affiliation as follows:

DenominationRoman CatholicAnglicanUniting ChurchPresbyterianOrthodoxBaptistLutheranPentecostalChurch ofChristSalvation ArmySeventh Day AdventistOther ChristiansNon-Christian

Percentage ofPopulation27248.2'4.32.81.71.50.90.50.40.32.425

During the nineteenth century Australian religion was predominantly protestantand Roman Catholic and ofAnglo-celtic origin, although a significant GermanLutheran community el<isted·from 1838. Other groups to arrive during the colo-nial era (albeit in small numbers) include the Mormons (1840), Spiritualists(1850s), Christadelphians (mid-nineteenth century) and the Salvation Army(1880).' Migration patterns during the twentieth century saw the significanttablishment of Eastern Orthodox churches. Various Pentecostal traditions haveburgeoned since the 1970s. Groups with particular ethnic affiliations have alsoemerged b6th within and without the inainstream traditions.' .

Viewed from a different perspective the principal denominations active inAustralian may be classified:

1. Denominations with a tradition ofwell-developed liturgical music..Included here are the Roman Catholic, Anglican and Lutheran tradi-tions which have a history (albeit variable) of choral and organ music,with sung services as well as hymnody. At cathedral.. and many of thelarger churches the repertoire used may be extensive, musical standards

3. Religious Bodies-in Australia, 3rd ed.) Melbourne: New Melbourne Press, 1995, pp.5-12.4. Ibid., pp.141, 261, 319 &242.5. Ibid., pp.14-1S. See also Ian Breward, Australia the Most Godless Place on Earth?Melbourne:Beacon Hill Books, 1988, and H.R. Jacksoo, Churches and People in Australia and Ntw ZMland1860-1930, Sydney: AlIen & Unwin, 1987.

The Church andMusic Publication in Australia

very sophisticated and there may be considerable choral singing with-out congregational involvement.' Music in Orthodox churches variesaccording to ethnicity, but without fail it is central to liturgical celebra-tion and features a great deal of unaccompanied chant. HarmonisedcIjoral music (although generally not congregational and without in-strumental accompaniment) is a distinctive feature of Russian Ortho-dox church music. Orthodox musical practice draws from vast musicalrepertoires and requires highly skilled singers.'

2. Denominatiom with aftcus on hymnody. In these churches, whichinclude the Unitin\\,' Continuing Presbyterian (since 1977),' Method-ist (prior to 1977),0 Congregational (also prior to 1977)," Unitarian,"Brethren assemblies," Churches of Christ," Baptist," Seventh-DayAdventist" and Reformed Churches" and the Church ofJesus Christof Latter-day Saints (Mormon)," there is an emphasis on congrega-tional hymnody. Metrical psalmody has\also had a longstanding andstrong emphasis in the Presbyterian and Reformed traditions. Some ofthese churches support strong choral traditions, but the role of thechoir is focused toa considerable extent on leading the congregationalsinging. Pipe or electronic organs are to be found, in many of these

55

6. G. Cox, 'Church Music', in The Oxford Companion to Australian Music, cd. W. Bebbington,Melbourne: Oxford University Press, 1997 [hereafter OACM].7. H. Husman & P. ]effrey, 'Syrian Church', M. Robertson Wilson, 'Coptic Church' and M.Velimorivoc & L. DeCado, 'Russian.and Slavonic Church', in The Grove Dictionary ofMusicandMusicicans, ed. S. Sadie and]. T}Tell, 2nd ed., London: Macmillan, 2001 [hereafter NGDMMIl). See also G. Maximova, 'Russian Orthodox Church Music in Australia: The Translation of aTradition', MMus thesis, Australian Catholic University, 1999.8. ]. McKnight, 'Music for Uniting in Worship (1988): A Background Investigation of Musicfor the Services of the Uniting Church in Australia', BMus Hons thesis, Australian Catholic Uni-versity, 1993. .9. A. Marti & B. Polman, 'Reformed and Presbyterian Churches', NGDMMIl.. See also L.Moore, 'Change, Acceptance and Resistance in the Hymnody of in Victoria,1838-1901', MMus thesis, Australian Catholic University, 1999.10. N. Temperley, lMethodist Church Music', NGDMM 11. See also K. Hastie, 'Music-makingin the Wesleyan Churches ofNew South Wales, 1855-1902', MPhil thesis, University of Sydney,1"1. .11. N. Temperley, 'Congregational Church Music' in NGDMM Il.12. D. Dawson &. W. Klauss, 'Unitarian ChurchMusic', in NGDMM11.13. Ward & Humphreys, pp. 127-135.14. Ib£d., p.154. See also D. Raper, Voius Crying in the Wilderness, Adelaiae: Restoration Pub-lishers, 1979.15. D. Music, 'Baptist Church Music', NGDMM II.16. E.E. White, Singing w£th Undffstanding: A Commentary on Each Hymn and Tune in 'ChurchHymnaf, the Official Hymn-book of the SNJenth-DayAdventist Church, 2nd ed., Warburton: SignsPubli'hing, 1981, pp.6-7.17. K.V. Warren, 'Singing the Songs of the Lord in aNew Land', inA Church en Route: 40 YearsReformed Churches ofAustralia, Geelong: Reformed Churches Publishing House, 1991, pp.81-96.18. R. Miller, 'Church ofJesus Christ ofLaner Day Saints, Music of', NGDMM II.

The above groupings provide only the roughest guide, as there tends to be muchoverlap between them. Furthermore, the musica-liturgical stance of most tradi-tions may vary considerably within. For example there are many Catholic con-gregations where service settings and choral motets .and anthems are not sung,and where contemporary worship songs are favoured over traditional hymns.Conversely, some Uniting Church parishes have embraced service settings intotheir liturgical practice in addition to the traditional hymnody. It is also true thatwithin most traditions musical preferences change over the course of. time.While it is probably the case that traditions in the first category stimulate more·music publication than those relying more' on congregational music, it does notfollow that the music of the 'liturgical' traditions is well published in Australia.Orthodox church music, for example, has seen hardly any local publication, onereason being the highly orthodox nature of these churches and hence their reli-ance on traditional music, much of it quite ancient." On the other hand the

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56 Bibliographical Society ofAustralia & New ZealandBulletin

churches, and in recent decades it has become common for other in-struments, such as the piano and commonly played orchestral instru"ments, to accompany singing during services. The extent of repertoireused varies enormously, but the emphasis on congregational hymnody(and possibly on less formal worship songs also in recent times) is aconstant.

3. Denominations with a focus on popular contemporary music. Themusic of churches such as the Pentecostal (including Assemblies ofGod and similar groups)" and the Salvation Army, is characterised bya distinctly popular contemporary idiom. Such music is mostly congre-gational but the services of Pentecostal and related traditions may alsofeature lead singers, 'backing' choirs and a range of .instruments,including those associated with rock music. Synthesised sound andelaborate amplification systems are not uncommon. Earlier in theirhistory these traditions relied more on hymns and choruses. Standardsof performance may be impressive within the context of the style .adopted." In particular, the Salvation Army maintains excellent choraland band traditions with these forces leading the assembly and provid- .. 'e fl·21mg musIc ,or re ectlon. . .... .

19. ]. Randall GUlhrie, 'Pentecostal and Renewal Church NGDMM IL20. The video People just like Us: Live Worship. Hills Christian Lift Cmlre, Castle Hill, CastleHill: Hillsongs, n.d., gives a good idea of performance standards. For a description and assessment·

". of this worship style see J. Witvliet, 'The Blessing and Bane of the North American Megachurch:.Implications for Twenty-first Century Congregational Song', The American Organist. 34/5,2000,pp.sG-S6.21. R. Steadman-Allen, 'Salvation ArmyMusic', NGDMM II. See also ].C. Cleary, 'SalvationArmy', in OACM.22. Maximova, 'Russian Orthodox Music in Australia'.

The Church andMusic Publication in Australia 57

twentieth century saw a significant amount of music published locally for theRoman Catholic Church, for reasons that will be addressed below. Relativelylittle music has been' published in Australia for the Anglican Church but thenumerically small Lutheran denomination has been remarkably active in pub-lishing, especially in the area of congregational music."

Within the second group, the Seventh-Day Adventist Church, has pub-lished a number of hymnals in Australia since the 1920s." However the Austra-lian Presbyterian and Methodist churches have stimulated relatively little musicpublication., The hyrnnbooks of the English Methodist Church were usedthroughout the entire Australian history of this denomination, although withsmall Australian supplements provided from 1904. 25 However a more substantialsupplement containing music and text by Australians was published separately in1935." For nineteenth-century Presbyterians, hyrnnbooks of English originwere the most commonly used," but from 1897 the Scottish Church Hymnarybecame the universally authorised book and remained so for many decades." Itwas not until 1987 that the Presbyterian Church of Australia (by now a 'con-tinuing' Presbyterian Church followinr the formation of the Uniting Church in1977) produced the hymnal Rejoice!.' The denomination to have made wide-spread and longstanding use of a locally published resource is the UnitingChurch with the Australian Hymnbook, although it should be noted that thisbook has also been used by Anglicans and that the Catholic Supplement editionhas been embraced by some Catholic parishes."

Turing to the third group, both the Salvation Army and Pentecostal groupshave stimulated a deal of music publication in Australia, the former in line withits traditional and distinctive emphasis on music with immediate appeal." For

23. J. Grae'z, An Open Book: Th, Story ofth, Distribution and Production ofChristian Lituatur, byLuthuans in Australia, Adelaide: Lutheran Publishing House, 1988, contains an excellent overviewofLutheran music publishing in Australia.24. Th, Advent Hymnal' A Coll«tion ofStandard Hymns and Gospd Songs, suitabl,for all Kinds offuligious Suviw, rev. ed., Warburton: Signs Publishing, 1928, and Th' Churel; Hymnal' OfficialHymnal of the SromtlrDayAdvmtist Church, Warburton: Signs Publishing, 1941, 197-?, 1984,1990. .25. J. Wesley, A Coll«tion ofHymns,for th, US( ofth' P,opl, call,dM,thodists, London: John Ma-son, [18- -]; The Methodist Hymn-Book with Tunes. Australasian ed., London: Wesleyan Confer-ence Office, 1904.26. E.W.H. Fowles, ed., The Ntw Methodist Hymn-book Companion and Supplemmtftr Austral-asia andNew Brisbane: s.n., 1935. .27. Psalms and Hymns for Worship, London: James Nisbet & eo.,"1867; Church Praise:With London: James Nisbet &Co., 1883.28. Th, Church Hymnary, Edinburgh: Herny Frowde, 1898, rev. ed. 1927.29. RejoiC/!! A Collection ofPsalms, Hymns and Spiritual Songs, Sydney: Presbyterian Church ofAustralia, 1987. .30. The Australian Hymn Book, Melbourne: Collins Liturgical, 1977; The Australian Hymn Book:With Catholic Supplement,Melbourne: Collins Liturgical, 1977.31. H. Booth, ed., The Salvation Soldiers' Song Book, Melbourne: Salvation Army TerritorialHeadquarters, 1897; Songs for Young and Home Circle, East Melbourne: Salvation Army,


Pentecostal groups music publication has reflected their quest for alternative mu-sical styles that will meet contemporaty needs. In recent decades publishers suchas Christian Resource Music," Heart of the Psalmist" and Hillsong Music Aus-tralia (which publishes Australian music exclusively)" have successfully providedmusic in popular idioms to an ever-growing market.•

GenresThe many genres of church music that have been published in Australia includehymns, psalm settings, choruses, gospel songs, mass/service settings, motets,chants, chant accompaniments, responses, cantatas, sacred songs, chorales, wor-ship songs, carols, hymn descants and arrangements, anthems and organ music.By far the most widely published of these is the hymn, usually within a hymnbook. Given its Widespread use across denominations and its congregational as-sociation this is hardly surprising. The hymn and hymnal also account for theearliest local publications. These comprised an abridged edition of the Wesleyanhymnbook (1821), " a collection of Catholic hymns (1828)" and editions ofmetrical psalms in theTate and Brady version (1828, 1830). However it shouldbe noted that most nineteenth-century hymnals of local provenance were wordeditions only, the custom being to draw upon the resources of available tunebooks, of which only the organist would have had access." Locally publishedcolonial hymnals competed with very popular imports, notably Hymns Ancient &Modern (1861)" of the Anglican tradition and the Catholic Crown ofJesus(1864}". A local success of this period was the Australia" Catholic Hymn Book(containing some music) which saw at least 13 editions between 1884 and

[192-?]; SongsJor Young Peoplt, AnnivtrSary, 1953, Melbourne: Territorial Headquarters, [1953];and Songs oftht Htart: 25 Popular Cho,-uus, Melbourne: Salvation Army, [196-?], ase examples..32. N. Prince arr., The &souru Song Book, 3 vols, DingIey, Vie: Resource Christian Music,1990-[1995]; N. Prince arr., We believe Praise and Worship, DingIey, Vie: Resource Christian Mu-sic, 1992, are "among the many publications of this agency.33. R. Webb, Worship aroundHis Throne, Vie.: Heart of the Psalmist, 1997.34. All Things art Possihl,: Livt Worship from Hillsongs Australia, Castle Hill, NSW: HiIlsongsAustralia, 1997, is one of 18 music publications to appear in the past decade. Note that HillsongMusic Australia was known as Hillsongs prior to 1988.35. An Ab.-idgmtnt ofth, WtSieyan Hymns, "I"t,dfrom tht Largtr Hymn Book, publishtd in Eng-land-Jo'- th, U" oftht P,oplt 'all,dM,thodists, Sydney: printed by George Howe, 1821.36. An Antidote to Misrepresentation and Impiety ... and a Colltchon 'ofHymns or Sacred Songs,intended and calculated to inspire the Minds ofthe Youth ofthe Colony, with the Love oftheir Creator,Religion and Virtu, Sydney: printed by Artbur Hill, 1828.37. D. Gome, 'Hymnody in the Australian Colonies, 1778-1901: A Preliminary Investigation ofSources and Functions ofHymns', AustraIasian Music Research 1, 1996, pp.141-166.38. Hymns Ancient andModern, London: W. Clowes, 1861.39. Crown of}tsUS Music, London: Thomas Richasdson & Son, [1864]. See also D. Gome, 'Aus-tralian Catholics and Congregational Singing: An Historical Investigation', The AustralasianCatholic Record74/4,1997, pp.417-31.


1924.'" A number of noteworthy Australian hymnals were published during thetwentieth For example Catholic publications include The AustralianHymnal (1942),' Hymnal if St Pius X (1952, 1966),"The Living Parish HymnBook (1961)," The Catholic Worship Book (1985)," The New Living Parish HymnBook (1987)" and Gather Australia (1995)." In recent times however, hymnalshave faced increasing competition from less formal worship song books. Ofthese, the 2 volume set As One Voice is a widely used resource emanating from apublisher loosely aligned with the Catholic Church. However the collection,which is purported to take in traditional hymnody as well as contemporary song,is designed to encourage 'dialogue across denominations, cultures, ages and mu-sical abilities'."

Other significant genres in the history of Australian church music publica-tion include anthems and motets, even though much of this repertoire has re-mained unpublished. Australian composition of such works dates from the1850s when choral traditions were becoming well established.'" Early examplesby Charles Horsley (1822-76) include Ave verum, sung at St Francis' Church,Melbourne in 1870" and I willpraise Thee with my whole heart, sung by the choirof St Peter's Eastern Hill in 1873.50 No details of publication for these areknown. However, at least two ofHorsley's anthems were published in London".His only work published locally appears to have been a Christmas hymn forSATB and organ." Other nineteenth-century composers to publish anthems inLondon (particularly with Novello and Ashdown) include Ernest Mitchell of .Adelaide and George Torrance ofMelbourne." During the early decades of thetwentieth century the trend was for this repertoire to be published locally.

40.. The Australian Catholic Hymn Book: Containing the Chi1d.ren's Mass, Hymns jOr Sunday SchoolandNumn-ous Hymnsftr Gen"ol Use at E'Utning Devotions and Bnudiction, andfor the Use ofqhil-Jren at Holy Mass and Sunday School, with Musicfor Children's Mass, Sydney: Louis Gille & Co.,[1884-5].41. P. Jones, ed., The Australian Hymnal' A Collection ofF/ainsongMasses andMotets and ofEng-fish Hymnsftr the Catholic Church in Australia, Melbourne: Advocate Press, 1942.42. P. Jones, ed., The Hymnal ofSt. Pius X' A Collection ofMasses andHymnsfOr the Use ofParishesand Schools in the CathoNc Church, Melbourne: Allans, 1952.43. A. Newman, ed., The LivingParish Hymn Book, Sydney: Living Parish Series, 1964.44. W. Jordan, ed., The Catholic Worship Book: ApprovedfOr Use in the Dioceses ofAustralia, Syd-ney: E.J. Dwyer; London: Collins Liturgical, 1985.45. J. De Luc" ed., The New Living Parish Hymn Book, Sydney: E.J. Dwyer, 1986.46. J. Wood, ed. Gather AustraNa, Melbourne: NLMC Publications, Chicago: GIA Publica-tions, 1995.47. As One Voi", 2 vols, Sydney: Willow Connection, 1992, 1996.48. Cox, p.120.49. J. Byrne, Echoes ofHome: Music af Sf Frands', 1845-1995, [Melbourne]: St Francis' Choir,1995, p.220.50. Argus (Melbourne), 19 July 1873, p.5, col.6.51. Thou art my Portt'on, 0 Lord, London, s.n., [1857], see Catalogue ofPrintedMusic in the Brit-ish Library H2826.,.(7.); I 'Was glad, London, s.n., 1886, see CPMH.1184.(21.).52. All my Heart this Night Rejoices,Melbourne: C. HorsIey, 1862.53. Examples include E. Mitchell, Forroer with the Lord, London: Ashdown, n.d.; G. Torrance,Ofthe Fathers Love, London: Novello, 1898.


Prominent publishers included Evans and Allans Music (Melbourne) and Pal-ings (Sydney), but with overseas publication becoming more apparent in thelater years. For example, Rosalie Bonighton's music is published with KevinMayhew (U.K) and Christopher Willcock's with Oregon Catholic Press (USA).• Mass settings of varying degrees of sophistication have .long featured in

Catholic church music. Q1Iite a number were composed in Australia during thenineteenth century but not necessarily with publication. For example, no evi-dence of publication (nor a manuscript source) has been. found for the GrandMass in D which was scored for orchestra and performed at St Francis'Church,Melbourne in June 1879 and at St Mary's Cathedral, Sydney in 1891." By con-trast the following century saw a great deal of publication of masses for theCatholic Church, although with a huge number (including excellent works bycontemporary composers Anthony Hal1iday" and Paul Sarcich)" remaining un-published. Service settings by twentieth-century Australian Anglican composersabound, the earliest local publication appearing to be Alfred Wheeler's Com-munion Service, produced by Allans Music in 1929.

PublishersIn considering the publication' of church music in Australia, different kinds ofpublishers and publishing arrangements may be identified. Firstly, there arechurches that have their own publishing houses. Notable examples include theLutheran Publishing House, Signs Publishing (Seventh-Day Adventist), Re-formed Churches Publishing House and Hillsong Music Australia, all ofwhichhave achieved success in serving the liturgical and broader needs of their owndenominations. In the case of the Lutheran Publishing House and HillsongMusic, products have in recent decades been disseminated throughout the widerchurch as well. During the latter part of the nineteenth century and the earlydecades of the twentieth the Melbourne (Anglican) Diocesan Depot and theMethodist Book Depot produced a small number of music 'publications," as didthe (Catholic) Melbourne Advocate Press during the 1940s. '

Among otherpublishers there are some that have forged close relationshipswith churches for the production of liturgical materials and have thus developeda high level of expertise in this area. E. J. Dwyer of Sydney, founded in 1904 as ageneral publisher 'and disbanded only recently, was, from the 1960s the preferredpublisher of the Catholic Church in Sydney and producer of two highly signifi-

54. Cox, p.122.55. MisSQ pro Communi/ate (1981), commissioned by St Francis' Choir, Melbourne.56. Ptrcusst'on Mass (1992) commissioned by St Francis' Choir, Melbourne. However it is notedthat this work is commercially available by way of the Australian Music Centre. See below, p.61.57. An example of an anthem published by both agencies is]. Eggleston, How Swut the Name ofJesus Sounds, Melbourne: Diocesan Book Society, n.d.; Melbourne: Methodist Book Depot, 1920.58. Jones, The Australian Hymnali Carmina Sacra: 17 Motets fOr Thru Equal Voices, Melbourne:Advocate Press, 1944.


cant hymnals." During the 1950s and 60s Allans Music appears to have enjoyeda similar status with the Melbourne Catholic Archdiocese, producing numerousresources edited or composed by Percy Jones.60 More recently Harper Collins hasexperienced a prqductive association with the Australian Hymnbook Company,an ecu"lenical enterprise involving mainstream protestant traditions and theCatholic Church.61 Australian firms involved with the small amount of locallypublished nineteenth church music include lithographers Thomas Isaacs andRV. Hood of Hobart, Degotardi of Sydney and publishers George Robertson,Clarson, Massina & Co, Allans, Glen & Co. of Melbourne, Walch Bros ofHobart, S. Marshall and J. Fray of Adelaide and Louis Gille, W.J. Johnson andJohn Sands of Sydney. For the twentieth century mention may be made of theMelbourne-based Allans, Evans and Dove, the Sydney-based Albert, Palings,Chappell and Ricordi, all ofwhich ceased publishing church music some decadesago.

Currently the major publisher of music for liturgically oriented churchesappears to be Morton Music. Based in Brisbane, this relatively small concern,which is also a general choral music distributor, is committed to promoting Aus"tralian choral music. Its offerings include a small number of anthems, carols andpsalm settings." In addition, Morton Music's Access Edition, produced in coop-eration with RSCM Australia, currently comprises 21 titles by composers suchas Rosalie Bonighton, Geoffrey Cox, Tony Way, Christopher Dearnley, LindsayO'Neill and Christopher Willcock. Although not a publisher in the traditionalsense, the Australian Music Centre provides a valuable dissemination service ofmusic (including liturgical works) by nationally recognised composers. Anthemsand other liturgical works by composers such as· Eric Gross, Nigel Butterley,Stephen Cronin, Christopher Willcock and Colin Brumby are made widelyavailable in this way. The Lutheran Publishing House based in Adelaide remai,nsa viable publisher of church music, although increasingly in the area ofworshipsong. This genre is also the focus of the very enterprising Sydney-based WillowConnection and Hillsong Music Australia. The impressive commercial successof Hillsong, the products ofwhich are distributed in over 30 different countrieswith translations into numerous languages, has in recent times been enhanced byan association with Warner Music Australia."

The advent of personal computers and desktop publishing has given rise toa plethora of low-cost self-publication endeavours, with dissemination oftenrelying largely on word of mouth. Examples of effective liturgical music distrib-

59. W. Jordan, The Catholic Worship Book;]. De Luca, The Nnu Living Parish Hymn Book.60. Examples include Chants hetween the ReadJngsftr the Ord" oftheMass, c.1969, Psalm TonesandAlleluia Mdodies, 1965, English PlainsongMass andBmediction, 1965.61. See below pp.64-65 for further discussion of this association.62. Examples, all undated, include R. Marton, Good Christian Men Rrjoice; G. Cox, Ntw Plain-chant Setting ofPsalm 84 with Fauxbourdons adapted from Gibbons; and 1. McKinley. This JoxfulEastertide.63. See <www.hillsclc.org.au> [As at 1/3/2002]


uted in this manner abound; it is certainly the case for much of Roger Heagney'svery appealing and liturgically sensitive music for the Roman Rite. His MissaCastanea (c.1994) is an example of a work that has traveled widely despite itsmodest desktop published state. Compositions by Beverley Phillips and CalvinB'lwman for the Anglican and Uniting traditions respectively are also represen-tative of the vast amount of quality desktop-published (but generally poorly dis- .seminated) church music in Australia." . ..

Conditions facilitating Australian publication ofchurch musicOf the several factors that have stimulated successful publication ofmusic for thechurch in this country, four are especially important. The fIrst is the occurrenceof liturgical change within a religious tradition, necessitating the availability ofdifferent music. Such changes had profound· implications for the Catholicchurch music world-wide during the twentieth century: For example the MotoProprio of 1903 called for a return to plainsong, considered by the then Pope,Pius X to be the purest form of sacred music. It also demanded the use of choralrepertoire drawn from the gems of Renaissance polyphony and other milsicbased on this style." Such a policy necessitated a major change from the nine-teenth century repertoire.. In larger churches this featured orchestral masses bycomposers such as Haydn, Rossini and Gounod, the style of which was per-ceived by Pius X as 'secular', therefore having no place in the church. This policyremained in place until the 1960s. Composers and arrangers such as DomStephen Moreno of the Benedictine Monastery in New Norcia, WA, PercyJones of the Melbourne Archdiocese and Joseph Muset-Ferrer of the CatholicSeminary in Manly addressed the serious resource problems faced by churchesduring the early decades of the twentieth century. They produced plainsong ar-rangements and choral works that were specillcally to suit local needs.While Moreno's compositions were published in Italy, the Australian Hymnal(1941) and Carmina Sacra (1944)" ofJones were published by the church-'-ownedMelbourne Advocate Press. Chappell of Sydney published Joseph Muset-Ferrer'swidely used 33 Eucharistic Motetsfor Three Equal Voices.

64. B. Phillips, Lmten Eucharistic Setting ftr Congregation and optional Cantor, 1994, and C.Bowman, Htre is the Patience ofthe Saints, 1993.65. ].E. White, Roman Catholic Worship, Trent to Today, New York: Paulist Press, 1995, pp.93-1U .66. Hymni Eucharesties, Torino: Chenna, 1927; Corona Mariae, Tonno: Chenna, 1929; and ap-proximately 20 masses also issued by Chenna. Moreno's subsequent works with English text werepublished by the press he established at the Benedictine Abbey, NewNorcia.67. See above, note 60.


EUCHAAISTIC MOTBTS(IN B£NEDICTIONIBUS CUM. SS. SACMMOO'O)

33MOTETSFOR THREE EQUAL VOICES

(ORGAN AD LIB)

INTENDED PARTICULARLY FOR.. CHORAL GROUPS(IN SEMINARIES, CONVENTS, COLLEGES)ANDAPPROPRlATE IN THE LITURGICAL

OFFICES OF THE CHURCH.--....._0..:.

COMPOSED BY

JOSEPH M.USCOPYRICJiT,

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J. Muset-Ferrer, EucharisticMotets (In Benedictionibus cum SS. Sacramenta): 33Motetsfor Three Equal Voices (Organ ad lib) intendedfor Choral Groups (in Semi-naries, Convents, Col/eges) andAppropriate in the Liturgical Offices ofthe Church,

Sydney: Chappell, 1951.

64 Bibliographical Society ofAustralia &New Zealand Bulletin

. .Interesting as· the publication outcomes of the Moto proprio directives are, theypale in significance when viewed against the Australian Catholic church musicthat has emanated in both published and unpublished form following the Sec-ond Vatican Council legislation of 1965. This not only saw the introduction ofthf vemacular.language into the liturgy, but of revised liturgical structures allow-ing for much greater congregational participation. Encouragement for individuallocalities to develop a degree of distinctiveness in their liturgy and music was alsogiven." The challenge posed to liturgists and musicians. in all countries wasmonumental. An early outcome in Australia was Percy Jones' Plainsong Hym-nal," in which simple liturgical chants, including psalms and hymns are trans-lated into English. Interestingly each psalm is provided with a congregationalresponse, heralding the responsorial format that has figured largely in post-Vatican II psalmody. The extensive Australian publication of music for theCatholic Church since 1965, embracing hymnals, service settings, collections ofresponsorial psalms and worship song books, has involved Allans Music andCoffins Dove of Melbourne. Sydney publishers included Pellegrini, Chappell,Albert & Co., and the Guild of St Pius·X. However the participation rate,ofthese firms has declined from the early 1980s; leaving Catholic composers withthe option ofoverseas or selfpublication. ' .

Publication of church music has often been enhanced by the use of an im-primatur, normally included on a title page. Such a mark of authorisation canhave a profound impact on music sales, as has been the case with hymnbooksproduced for the Lutheran, Seventh-Day Adventist, Reformed and Presbyterianchurches. From the churches' official endorsements have also as-sisted the maintenance of theological and liturgical conformity. NumerousCatholic musical resources have also received imprimaturs. Concerning PercyJones' Australian Hymnal, anecdotal evidence suggests that every schoolchild in the country was actually required to own a copy, although Jones himselfexplained that 'my hymn book sold remarkably well and it was interesting fortwo reasons. One was that the melody edition was produced by Allans. w ' .cheaply, which meant each child could have a copy'.. There have been occasio,!s when particular local circumstances have neces-sitated the publication of music for church use. An interesting example is that ofthe Musical Supplement of the Liturgy for Divine Service, first produced in 1914for the Australian Lutheran Church by the Lutheran Publishing Co. inlaide. The impetus behind this small but landmark publication was the declininguse of German in Lutheran communities and the perceived need by church au-thorities to provide a liturgy that was not only in the English vernacular, but also ..

68. White, pp.llS-140.69. P. Jones, ed., The Plainsong Hymnal- Published by Authority ofthe Catholic Bishops ofAustralia,Melbourne: Allans Music, 1965. .io. D. Cave, Fa-cy fones: Priest, Musician, Teacher, Carlton. Vie.: Melbourne University Press,1988, p.4S.


one that would be standasd thsoughout all Australian pasishes.71 Another factorstimulating local music publication was the difficulty experienced by Lutheransin importing German books (including hymnbooks) during and just after theWorld Was One yeass, together with the bans placed on the printing ofGermanmateriali in Australia. Thus the English Liturgy was soon supplemented by thefirst Australian Lutheran hymnbook in the English language with music. Pub-lished in 1925, the Australian Lutheran Hymnbook "had widespread distributionand experienced many reprints before it was superseded in 1973 by the LutheranHymnal. 7J These and numerous other publications of the Lutheran PublishingHouse are the fruits of a religious tradition committed to vernaculas worship, toexcellence ID musical praise and to firm quality control of liturgical resources.

&>mewbat similar circumstances prompted the publication of the Book ofWorship in 1990 for the Reformed Churches of Australia." Of Dutch descent,and astiving in this country from the 19505 with a strong Calvinist metricalpsalm singing background, the people of this church eventually saw the need foran English language psalter and hymnal. Not only did they achieve this thsoughtheir own publishing company in Geelong, but also extended their metricalpsalm rrpertoire to include a diversity ofhymns and worship songs."

The force cif local circumstance on music publication was undoubtedly mostdramatically displayed with the success of the Australian Hymnbook. Establishedin 1968 as an ecumenical·body involving Anglicans, Congregationalists, Meth-odists and Presbyterians, the planning committee gained the necessary financialbacking for publication only after inordinate time and effort." But the verytimely establishment of the Uniting Church ofAustralia in 1977 (within a shorttime of publication) ensured a ready masket for the book. In addition, the im-·primatur from Archbishop Freeman of Sydney made the book in its CatholicSupplement edition acceptable to Catholic parishes also. A hymnbook is a verycomplex form of music publication, involving the very difficult issue of contentselection, along with detailed editing of text and music, exacting page layout re-quirements, the preparation of multiple indexes and not least a minefield ofcopyright acknowledgements. In all of these respects the Australian Hymn Bookis exemplary, and these features have accounted lasgely for its longevity, impres-sive sales figures and for the success of the international editionWith One Voice."The Australian Hymn Book has now been superseded by Together in Song pub-

71. Graetz, pp.136-7.72. Australian Lutheran Hymn-Book, with Tun", Adelaide: Lutheran Pu!?lisl\ing Co., 1925. Seealso Graetz, p.I40. .73. Lutheran Hymnal· Authorised by the Lutheran Church of Australia, Adelaide: LutheranPublishing Co., 1973. .74. Book of Worship, Reformed Church" ofAustralia, Geelong: Reformed Churches PublishingHouse, 1990.75. Warren, pp.92-6.76. Australian Hymn Book, p.ixi77. With One Voice: A Hymn Book fOr All the Churches with Ntw Zealand Supplement, London:Collins Liturgical, 1982.


lished in late 1999 by Harper Collins with an even broader ecumenical base.'"Time will tell whether itwill enjoy the same prestige.

Yet another aspect of Australian church activity which stimulated a deal ofmusic. publication was the choral tradition which flourished in protestantchurches from the period of the gold rushes to the mid twentieth century. AllansMusic has published anthems from as early as the 1850s, but in the fIrst six dec-ades of the twentieth century when suburban and country church choirs couldboast memberships of 30 and more, this publisher provided a suitable and exten-sive repertoire with its Allan's Anthems series. Totaling 490, these anthems wereinexpensive; they were within the musical capacity of modest parish choirs andembraced a diverse repertoire of old favourites and contemporary·works. SignifI-cantly, Anthem No. 1 is The Hallelujah Chorus by HandeI. What is truly remark-able about Allan 's Anthems is the degree ofAustralian representation. Among the34 local composers so far identifIed are the well-known Fritz Hart," AlfredHill" and Alfred Boyd" but also 'little-known composers such as Arthur Crook,who was Director ofMusic at St Andrew's Presbr,erian Church in Bendigo dur-ing the early decades of the twentieth century. ' Unfortunately the demise ofchurch choirs along with declining church attendance eventually rendered theseries unprofItable and they are now out ofprint.

The foregoing exposition has shown something of the longstanding, signifI-cant and extremely varied role of churches in the history of Australian musicpublication. The demise of publication opportunity (in the traditional sense) inrecent decades for anthems, motets and service music has been confrrmed.Changing patterns of church attendance, a general decline in church choral tra-ditions and the widespread adoption of more contemporary and popular styles ofmusic in many congregations are seen to have contributed to this demise. TheAustralian Music Centre obviously provides a valuable alternative mode. of dis-semination, but only for a relatively small number of composers of church music.Most composers of traditional music for the mainstream denominations have inrecent times sought publication overseas or have turned to seIf-publication byway of desktop technology (usually with very limited distribution).

It has been seen that hyrnnbooks, the staple musical resource of mostchurches, have stimulated a deal of music publication in Australia (particularlyduring the twentieth century) and in several instances with great commercialsuccess. However compilations of contemporary worship songs have becomemore prominent over the last three decades, reflecting changing trends in musi-cal taste across numerous denominations. Interestingly, !hi! is the genre that isassociated with the most successful publishing ventures in recent times.

78. L. Bartlett, 'Not another Hymn Book!' One Voice 14 (2),1999, pp.2-5; 15 (1), 2000, pp.3-<\.79. Th, Night ofFear is Over, Melbourne: Allans, 1929.80. Holy, Holy, Melbourne: Allans, 1934,81. £q", Cam, Down at Christmas, Melbourne: Allans, [195-?].82, Sun ofMy Soul, Melbourne: Allans, [193-?]; Blm th, Lord, 0 My Soul, Melbourne: Allans,[193-?];and T,achM, Thy Way 0 Lord, Melbourne: Allans, [195-?],

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A number of factors have accounted for thriving patterns in the publicationof church music in Australia over the past two centuries. The existence of aflourishing tradition of church choirs between the 1850s and the 1950s ac-counted for an extensive demand, particularly of anthems; editions such asAllan's·Anthems (incorporating well-known 'classics' and works by numerouslocal composers) provided very handsomely for this market. Particular liturgicalneeds by denominations have also stimulated local publication. In this respectthe Catholic Church, particularly in response to the challenges posed by theVatican 11 legislation of the 1960s, prompted an enormous amount of locallypublished music. Circumstances specific to the Australian context of certain de-nominations, especially the Lutheran and Reformed churches, have also beenfound to occasion the local publication of vernacular service music and hymn-books.

Other contributing factors stimulating Australian church music publicationhave surfaced in the discussion. One concerns the practice ofAustralian publish-ers joining forces with larger firms overseas. This is the case, for example, withNLMC Publications (publisher of Gather Australia [1995]) which is linked tothe enormous CIA Publications in Chicago with obvious financial benefit. An-other strategy, demonstrated most compellingly by Hillsong Music Australia,has been for the publisher to adopt a highly entrepreneurial policy and to engen-der appropriate support from business agencies.

The publication of church musIc in Australia certainly reflects the religious,cultural and ethnic diversity of Australian society. Its history also demonstrates.the fact that church music publication, like any other.mode of publication, issubject to market forces and must respond to these in order to survive.

thechurch and music publication in australia · in the usaand kevin mayhew publications in the uk....

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