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The Church and Music Publication in Australia
DIANNEGOME
Convert>ations with composers of quality choral and congregational church music for the mainstream denominations invariably evoke despairing comments
about the dearth of publication opportunities.in this country. Certainly, from the
Australian publishing perspective it appears that the quality church music mar)<et is simply not large enough to warrant the production of resources akin to
that of firms such as Oregon Catholic Press and the (Lutheran) Concordia Press
in the USA and Kevin Mayhew Publications in the UK. This observation invites .
a number of questions: What alternative publication avenues are available to
Australian composers of church music? Is publication opportunity within
Australia a problem across all genres of church music and across the music of all
Christian traditions? Was there ever a golden era of Australian church music
publishing? What factors have assisted successful publication ventures in church
music? The ensuing overview of the church and music publication in Australia
will attempt to shed some light on these questions while examining the relationship between publishers and particular churches within a historical overview.
The discussion draws widely from data collected over the past few years by
Geoffrey Cox and myself for the ongoing project 'Church Music in Australia'.'
The focus will be on print publication although recognition is made of the growing importance of other modes of publication: overhead transparencies, cassette,
CD and video recordings and ·online materials, such as the Cyber Hymnal.' Although organ and other instrumental music plays an important· role in many
churches, it is excluded from the present discussion.
.
It must be acknowledged from the outset that for virtually every denomination of the church (the Qyaker tradition is the notable exception) music is an .
essential component of corporate worship. And given the ever-changing nature
of most church groups, musical needs and tastes may also change from generation to generation. Thus the demand for new music and/or revival of older music
is for many churches an ongoing phenomena which could be expected to result
in ongoing projects in music publication.
Denominations' .
Church music in this country embraces a vast kaleidoscope of traditions. In 1995
Rowland Ward and Robert Humphreys surveyed as many as 213 different
Christian 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 Research
C0':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
I
54
Bibliographical Society ofAustralia & New Zealand Bulletin
byterian and Reformed, Anglican, Uniting Church in Australia, Evangelical
protestant, Church of Christ, Apostolic, Adventist, Pentecostal, Home churches
and Maori prophetic movements.' The 1991 Australian Census recorded reli-'
gious affiliation as follows:
Denomination
Roman Catholic
Anglican
Uniting Church
Presbyterian
Orthodox
Baptist
Lutheran
Pentecostal
Church of Christ
Salvation Army
Seventh Day Adventist
Other Christians
Non-Christian
Percentage ofPopulation
27
24
8.2'
4.3
2.8
1.7
1.5
0.9
0.5
0.4
0.3
2.4
25
During the nineteenth century Australian religion was predominantly protestant
and Roman Catholic and of Anglo-celtic origin, although a significant German
Lutheran community el<isted·from 1838. Other groups to arrive during the colonial 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 significant
tablishment of Eastern Orthodox churches. Various Pentecostal traditions have
burgeoned since the 1970s. Groups with particular ethnic affiliations have also
emerged b6th within and without the inainstream traditions.' .
Viewed from a different perspective the principal denominations active in
Australian may be classified:
1. Denominations with a tradition of well-developed liturgical music.
.Included here are the Roman Catholic, Anglican and Lutheran traditions which have a history (albeit variable) of choral and organ music,
with sung services as well as hymnody. At cathedral.. and many of the
larger churches the repertoire used may be extensive, musical standards
3.
4.
Religious Bodies-in Australia, 3rd ed.) Melbourne: New Melbourne Press, 1995, pp.5-12.
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 ZMland
1860-1930, Sydney: AlIen & Unwin, 1987.
The Church and Music Publication in Australia
55
very sophisticated and there may be considerable choral singing without congregational involvement.' Music in Orthodox churches varies
according to ethnicity, but without fail it is central to liturgical celebration and features a great deal of unaccompanied chant. Harmonised
cIjoral music (although generally not congregational and without instrumental accompaniment) is a distinctive feature of Russian Orthodox church music. Orthodox musical practice draws from vast musical
repertoires and requires highly skilled singers.'
2. Denominatiom with aftcus on hymnody. In these churches, which
include the Unitin\\,' Continuing Presbyterian (since 1977),' Methodist (prior to 1977),0 Congregational (also prior to 1977)," Unitarian,"
Brethren assemblies," Churches of Christ," Baptist," Seventh-Day
Adventist" and Reformed Churches" and the Church of Jesus Christ
of Latter-day Saints (Mormon)," there is an emphasis on congregational hymnody. Metrical psalmody has\ also had a longstanding and
strong emphasis in the Presbyterian and Reformed traditions. Some of
these churches support strong choral traditions, but the role of the
choir is focused toa considerable extent on leading the congregational
singing. Pipe or electronic organs are to be found, in many of these
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 ofMusic
and Musicicans, ed. S. Sadie and]. T}Tell, 2nd ed., London: Macmillan, 2001 [hereafter NGDMM
Il). See also G. Maximova, 'Russian Orthodox Church Music in Australia: The Translation of a
Tradition', MMus thesis, Australian Catholic University, 1999.
8.
]. McKnight, 'Music for Uniting in Worship (1988): A Background Investigation of Music
for the Services of the Uniting Church in Australia', BMus Hons thesis, Australian Catholic University, 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-making
in the Wesleyan Churches of New 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 Church Music', in NGDMM 11.
13. Ward & Humphreys, pp. 127-135.
14. Ib£d., p.154. See also D. Raper, Voius Crying in the Wilderness, Adelaiae: Restoration Publishers, 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 'Church
Hymnaf, the Official Hymn-book of the SNJenth-DayAdventist Church, 2nd ed., Warburton: Signs
Publi'hing, 1981, pp.6-7.
17. K.V. Warren, 'Singing the Songs of the Lord in a New Land', inA Church en Route: 40 Years
Reformed Churches ofAustralia, Geelong: Reformed Churches Publishing House, 1991, pp.81-96.
18. R. Miller, 'Church ofJesus Christ of Laner Day Saints, Music of', NGDMM II.
I
i
i
Bibliographical Society ofAustralia & New Zealand Bulletin
56
churches, and in recent decades it has become common for other instruments, such as the piano and commonly played orchestral instru"
ments, to accompany singing during services. The extent of repertoire
used varies enormously, but the emphasis on congregational hymnody
(and possibly on less formal worship songs also in recent times) is a
constant.
11
:1
ii
I1
1'
1I
,I
11
l'
I1
r.
3. Denominations with a focus on popular contemporary music. The
music of churches such as the Pentecostal (including Assemblies of
God and similar groups)" and the Salvation Army, is characterised by
a distinctly popular contemporary idiom. Such music is mostly congregational but the services of Pentecostal and related traditions may also
feature lead singers, 'backing' choirs and a range of .instruments,
including those associated with rock music. Synthesised sound and
elaborate amplification systems are not uncommon. Earlier in their
history these traditions relied more on hymns and choruses. Standards
of performance may be impressive within the context of the style .
adopted." In particular, the Salvation Army maintains excellent choral
and band traditions with these forces leading the assembly and provid- .
.
'e
mg musIc
,or refl·21
ectlon.
.
.... .
I1
I,
it
11
:1
1
!
i
i
'I
1I
I!
11
11
'I
'I
,
11
:i
li
I'
I:
l'
I,
,I.
The above groupings provide only the roughest guide, as there tends to be much
overlap between them. Furthermore, the musica-liturgical stance of most traditions may vary considerably within. For example there are many Catholic congregations 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 into
their liturgical practice in addition to the traditional hymnody. It is also true that
within 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 not
follow that the music of the 'liturgical' traditions is well published in Australia.
Orthodox church music, for example, has seen hardly any local publication, one
reason being the highly orthodox nature of these churches and hence their reliance on traditional music, much of it quite ancient." On the other hand the
19.
20.
]. Randall GUlhrie, 'Pentecostal and Renewal Church
NGDMM IL
The video People just like Us: Live Worship. Hills Christian Lift Cmlre, Castle Hill, Castle
Hill: 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 Army Music', NGDMM II. See also ].C. Cleary, 'Salvation
Army', in OACM.
22.
Maximova, 'Russian Orthodox Music in Australia'.
The Church and Music Publication in Australia
57
twentieth century saw a significant amount of music published locally for the
Roman Catholic Church, for reasons that will be addressed below. Relatively
little music has been' published in Australia for the Anglican Church but the
numerically small Lutheran denomination has been remarkably active in publishing, especially in the area of congregational music."
Within the second group, the Seventh-Day Adventist Church, has published a number of hymnals in Australia since the 1920s." However the Australian Presbyterian and Methodist churches have stimulated relatively little music
publication., The hyrnnbooks of the English Methodist Church were used
throughout the entire Australian history of this denomination, although with
small Australian supplements provided from 1904. 25 However a more substantial
supplement containing music and text by Australians was published separately in
1935." For nineteenth-century Presbyterians, hyrnnbooks of English origin
were the most commonly used," but from 1897 the Scottish Church Hymnary
became the universally authorised book and remained so for many decades." It
was not until 1987 that the Presbyterian Church of Australia (by now a 'continuing' Presbyterian Church followin the formation of the Uniting Church in
1977) produced the hymnal Rejoice!.' The denomination to have made widespread and longstanding use of a locally published resource is the Uniting
Church with the Australian Hymnbook, although it should be noted that this
book has also been used by Anglicans and that the Catholic Supplement edition
has been embraced by some Catholic parishes."
Turing to the third group, both the Salvation Army and Pentecostal groups
have stimulated a deal of music publication in Australia, the former in line with
its traditional and distinctive emphasis on music with immediate appeal." For
r
23.
J. Grae'z, An Open Book: Th, Story ofth, Distribution and Production ofChristian Lituatur, by
Luthuans in Australia, Adelaide: Lutheran Publishing House, 1988, contains an excellent overview
of Lutheran music publishing in Australia.
24. Th, Advent Hymnal' A Coll«tion ofStandard Hymns and Gospd Songs, suitabl,for all Kinds of
fuligious Suviw, rev. ed., Warburton: Signs Publishing, 1928, and Th' Churel; Hymnal' Official
Hymnal 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,d M,thodists, London: John Mason, [18- -]; The Methodist Hymn-Book with Tunes. Australasian ed., London: Wesleyan Conference Office, 1904.
26. E.W.H. Fowles, ed., The Ntw Methodist Hymn-book Companion and Supplemmtftr Australasia and New
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 of Psalms, Hymns and Spiritual Songs, Sydney: Presbyterian Church of
Australia, 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 Territorial
Headquarters, 1897; Songs for Young
and Home Circle, East Melbourne: Salvation Army,
58
Bibliographical Society ofAustralia & New Zealand Bulletin
Pentecostal groups music publication has reflected their quest for alternative musical styles that will meet contemporaty needs. In recent decades publishers such
as Christian Resource Music," Heart of the Psalmist" and Hillsong Music Australia (which publishes Australian music exclusively)" have successfully provided
music in popular idioms to an ever-growing market.
•
Genres
The many genres of church music that have been published in Australia include
hymns, 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 hymn
book. Given its Widespread use across denominations and its congregational association this is hardly surprising. The hymn and hymnal also account for the
earliest local publications. These comprised an abridged edition of the Wesleyan
hymnbook (1821), " a collection of Catholic hymns (1828)" and editions of
metrical psalms in theTate and Brady version (1828, 1830). However it should
be noted that most nineteenth-century hymnals of local provenance were word
editions only, the custom being to draw upon the resources of available tune
books, of which only the organist would have had access." Locally published
colonial hymnals competed with very popular imports, notably Hymns Ancient &
Modern (1861)" of the Anglican tradition and the Catholic Crown of Jesus
(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-?]; Songs Jor 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 Music, 1992, are "among the many publications of this agency.
33. R. Webb, Worship around His Throne,
Vie.: Heart of the Psalmist, 1997.
34. All Things art Possihl,: Livt Worship from Hillsongs Australia, Castle Hill, NSW: HiIlsongs
Australia, 1997, is one of 18 music publications to appear in the past decade. Note that Hillsong
Music Australia was known as Hillsongs prior to 1988.
35. An Ab.-idgmtnt ofth, WtSieyan Hymns, "I"t,dfrom tht Largtr Hymn Book, publishtd in England-Jo'- th, U" oftht P,oplt 'all,d M,thodists, Sydney: printed by George Howe, 1821.
36. An Antidote to Misrepresentation and Impiety ... and a Colltchon 'of Hymns or Sacred Songs,
intended and calculated to inspire the Minds of the Youth of the Colony, with the Love of their Creator,
Religion and Virtu, Sydney: printed by Artbur Hill, 1828.
37. D. Gome, 'Hymnody in the Australian Colonies, 1778-1901: A Preliminary Investigation of
Sources and Functions of Hymns', AustraIasian Music Research 1, 1996, pp.141-166.
38. Hymns Ancient and Modern, London: W. Clowes, 1861.
39. Crown of}tsUS Music, London: Thomas Richasdson & Son, [1864]. See also D. Gome, 'Australian Catholics and Congregational Singing: An Historical Investigation', The Australasian
Catholic Record74/4,1997, pp.417-31.
The Church and Music Publication in Australia
59
1924.'" A number of noteworthy Australian hymnals were published during the
twentieth
For example Catholic publications include The Australian
Hymnal (1942),' Hymnal if St Pius X (1952, 1966),"The Living Parish Hymn
Book (1961)," The Catholic Worship Book (1985)," The New Living Parish Hymn
Book (1987)" and Gather Australia (1995)." In recent times however, hymnals
have faced increasing competition from less formal worship song books. Of
these, the 2 volume set As One Voice is a widely used resource emanating from a
publisher 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 musical abilities'."
Other significant genres in the history of Australian church music publication include anthems and motets, even though much of this repertoire has remained unpublished. Australian composition of such works dates from the
1850s when choral traditions were becoming well established.'" Early examples
by 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 choir
50
of St Peter's Eastern Hill in 1873. No details of publication for these are
known. However, at least two ofHorsley's anthems were published in London".
His only work published locally appears to have been a Christmas hymn for
SATB and organ." Other nineteenth-century composers to publish anthems in
London (particularly with Novello and Ashdown) include Ernest Mitchell of .
Adelaide and George Torrance of Melbourne." During the early decades of the
twentieth 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 School
and Numn-ous Hymns ftr Gen"ol Use at E'Utning Devotions and Bnudiction, andfor the Use of qhilJren 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/ainsong Masses and Motets and ofEngfish Hymnsftr the Catholic Church in Australia, Melbourne: Advocate Press, 1942.
42. P. Jones, ed., The Hymnal of St. Pius X' A Collection ofMasses and HymnsfOr the Use ofParishes
and Schools in the CathoNc Church, Melbourne: Allans, 1952.
43. A. Newman, ed., The Living Parish Hymn Book, Sydney: Living Parish Series, 1964.
44. W. Jordan, ed., The Catholic Worship Book: ApprovedfOr Use in the Dioceses ofAustralia, Sydney: 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 Publications, 1995.
47. As One Voi", 2 vols, Sydney: Willow Connection, 1992, 1996.
48. Cox, p.120.
49. J. Byrne, Echoes of Home: 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 ofPrinted Music in the British Library H2826.,.(7.); I 'Was glad, London, s.n., 1886, see CPM H.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.
60
Bibliographical Society ofAustralia & New Zealand Bulletin
Prominent publishers included Evans and Allans Music (Melbourne) and Palings (Sydney), but with overseas publication becoming more apparent in the
later years. For example, Rosalie Bonighton's music is published with Kevin
Mayhew (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 the
nineteenth century but not necessarily with publication. For example, no evidence of publication (nor a manuscript source) has been. found for the Grand
Mass 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 contrast the following century saw a great deal of publication of masses for the
Catholic Church, although with a huge number (including excellent works by
contemporary composers Anthony Hal1iday" and Paul Sarcich)" remaining unpublished. Service settings by twentieth-century Australian Anglican composers
abound, the earliest local publication appearing to be Alfred Wheeler's Communion Service, produced by Allans Music in 1929.
Publishers
In considering the publication' of church music in Australia, different kinds of
publishers and publishing arrangements may be identified. Firstly, there are
churches that have their own publishing houses. Notable examples include the
Lutheran Publishing House, Signs Publishing (Seventh-Day Adventist), Reformed Churches Publishing House and Hillsong Music Australia, all of which
have achieved success in serving the liturgical and broader needs of their own
denominations. In the case of the Lutheran Publishing House and Hillsong
Music, products have in recent decades been disseminated throughout the wider
church as well. During the latter part of the nineteenth century and the early
decades of the twentieth the Melbourne (Anglican) Diocesan Depot and the
Methodist Book Depot produced a small number of music 'publications," as did
the (Catholic) Melbourne Advocate Press during the 1940s.
'
Among other publishers there are some that have forged close relationships
with churches for the production of liturgical materials and have thus developed
a high level of expertise in this area. E. J. Dwyer of Sydney, founded in 1904 as a
general publisher 'and disbanded only recently, was, from the 1960s the preferred
publisher of the Catholic Church in Sydney and producer of two highly signifi54.
Cox, p.122.
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 noted
that 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 of
Jesus 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:
55.
Advocate Press, 1944.
The Church and Music Publication in Australia
61
cant hymnals." During the 1950s and 60s Allans Music appears to have enjoyed
a similar status with the Melbourne Catholic Archdiocese, producing numerous
60
resources edited or composed by Percy Jones. More recently Harper Collins has
experienced a prqductive association with the Australian Hymnbook Company,
an ecu"lenical enterprise involving mainstream protestant traditions and the
Catholic Church. 61 Australian firms involved with the small amount of locally
published nineteenth church music include lithographers Thomas Isaacs and
RV. Hood of Hobart, Degotardi of Sydney and publishers George Robertson,
Clarson, Massina & Co, Allans, Glen & Co. of Melbourne, Walch Bros of
Hobart, S. Marshall and J. Fray of Adelaide and Louis Gille, W.J. Johnson and
John Sands of Sydney. For the twentieth century mention may be made of the
Melbourne-based Allans, Evans and Dove, the Sydney-based Albert, Palings,
Chappell and Ricordi, all ofwhich ceased publishing church music some decades
ago.
Currently the major publisher of music for liturgically oriented churches
appears 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 and
psalm settings." In addition, Morton Music's Access Edition, produced in cooperation with RSCM Australia, currently comprises 21 titles by composers such
as Rosalie Bonighton, Geoffrey Cox, Tony Way, Christopher Dearnley, Lindsay
O'Neill and Christopher Willcock. Although not a publisher in the traditional
sense, the Australian Music Centre provides a valuable dissemination service of
music (including liturgical works) by nationally recognised composers. Anthems
and other liturgical works by composers such as· Eric Gross, Nigel Butterley,
Stephen Cronin, Christopher Willcock and Colin Brumby are made widely
available in this way. The Lutheran Publishing House based in Adelaide remai,ns
a viable publisher of church music, although increasingly in the area of worship
song. This genre is also the focus of the very enterprising Sydney-based Willow
Connection and Hillsong Music Australia. The impressive commercial success
of Hillsong, the products of which are distributed in over 30 different countries
with translations into numerous languages, has in recent times been enhanced by
an association with Warner Music Australia."
The advent of personal computers and desktop publishing has given rise to
a plethora of low-cost self-publication endeavours, with dissemination often
relying largely on word of mouth. Examples of effective liturgical music distribW. Jordan, The Catholic Worship Book;]. De Luca, The Nnu Living Parish Hymn Book.
Examples include Chants hetween the ReadJngsftr the Ord" of the Mass, c.1969, Psalm Tones
andAlleluia Mdodies, 1965, English Plainsong Mass and Bmediction, 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-
59.
60.
of Psalm 84 with Fauxbourdons adapted from Gibbons; and 1. McKinley. This Joxful
Eastertide.
63. See <www.hillsclc.org.au> [As at 1/3/2002]
chant Setting
62
Bibliographical Society ofAustralia & New Zealand Bulletin
uted in this manner abound; it is certainly the case for much of Roger Heagney's
very appealing and liturgically sensitive music for the Roman Rite. His Missa
Castanea (c.1994) is an example of a work that has traveled widely despite its
modest desktop published state. Compositions by Beverley Phillips and Calvin
B'lwman for the Anglican and Uniting traditions respectively are also representative of the vast amount of quality desktop-published (but generally poorly dis- .
seminated) church music in Australia."
. ..
Conditions facilitating Australian publication of church music
Of the several factors that have stimulated successful publication of music for the
church in this country, four are especially important. The fIrst is the occurrence
of liturgical change within a religious tradition, necessitating the availability of
different music. Such changes had profound· implications for the Catholic
church music world-wide during the twentieth century: For example the Moto
Proprio 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 choral
repertoire drawn from the gems of Renaissance polyphony and other milsic
based on this style." Such a policy necessitated a major change from the nineteenth century repertoire.. In larger churches this featured orchestral masses by
composers such as Haydn, Rossini and Gounod, the style of which was perceived by Pius X as 'secular', therefore having no place in the church. This policy
remained in place until the 1960s. Composers and arrangers such as Dom
Stephen Moreno of the Benedictine Monastery in New Norcia, WA, Percy
Jones of the Melbourne Archdiocese and Joseph Muset-Ferrer of the Catholic
Seminary in Manly addressed the serious resource problems faced by churches
during the early decades of the twentieth century. They produced plainsong arrangements 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-'-owned
Melbourne Advocate Press. Chappell of Sydney published Joseph MusetFerrer'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 approximately 20 masses also issued by Chenna. Moreno's subsequent works with English text were
published by the press he established at the Benedictine Abbey, New Norcia.
67. See above, note 60.
The Church and Music Publication in Australia
63
EUCHAAISTIC MOTBTS
(IN B£NEDICTIONIBUS CUM. SS. SACMMOO'O)
33 MOTETS
FOR THREE EQUAL VOICES
(ORGAN AD LIB)
INTENDED PARTICULARLY FOR.. CHORAL GROUPS
(IN SEM INARIES, CONVENTS, COLLEGES)
ANDAPPROPRlATE IN THE LITURGICAL
OFFICES OF THE CHURCH
. - -....._0..:.
COMPOSED BY
JOSEPH M.US
8f=,
. c!O.PTY.LTO.j V
COPYRICJiT,
J. Muset-Ferrer, Eucharistic Motets (In Benedictionibus cum SS. Sacramenta): 33
Motetsfor Three Equal Voices (Organ ad lib) intendedfor Choral Groups (in Seminaries, 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, they
pale in significance when viewed against the Australian Catholic church music
that has emanated in both published and unpublished form following the Second Vatican Council legislation of 1965. This not only saw the introduction of
thf vemacular.language into the liturgy, but of revised liturgical structures allowing for much greater congregational participation. Encouragement for individual
localities to develop a degree of distinctiveness in their liturgy and music was also
given." The challenge posed to liturgists and musicians. in all countries was
monumental. An early outcome in Australia was Percy Jones' Plainsong Hymnal," in which simple liturgical chants, including psalms and hymns are translated into English. Interestingly each psalm is provided with a congregational
response, heralding the responsorial format that has figured largely in postVatican II psalmody. The extensive Australian publication of music for the
Catholic Church since 1965, embracing hymnals, service settings, collections of
responsorial psalms and worship song books, has involved Allans Music and
Coffins Dove of Melbourne. Sydney publishers included Pellegrini, Chappell,
Albert & Co., and the Guild of St Pius·X. However the participation rate,of
these firms has declined from the early 1980s; leaving Catholic composers with
the option of overseas or self publication. ' .
Publication of church music has often been enhanced by the use of an imprimatur, normally included on a title page. Such a mark of authorisation can
have a profound impact on music sales, as has been the case with hymnbooks
produced for the Lutheran, Seventh-Day Adventist, Reformed and Presbyterian
churches. From the churches'
official endorsements have also assisted the maintenance of theological and liturgical conformity. Numerous
Catholic musical resources have also received imprimaturs. Concerning Percy
Jones' Australian Hymnal, anecdotal evidence suggests that every
school
child in the country was actually required to own a copy, although Jones himself
explained that 'my hymn book sold remarkably well and it was interesting for
two 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 necessitated the publication of music for church use. An interesting example is that of
the Musical Supplement of the Liturgy for Divine Service, first produced in 1914
for the Australian Lutheran Church by the Lutheran Publishing Co. in
laide. The impetus behind this small but landmark publication was the declining
use of German in Lutheran communities and the perceived need by church authorities 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 of the Catholic Bishops ofAustralia,
Melbourne: Allans Music, 1965.
.
io. D. Cave, Fa-cy fones: Priest, Musician, Teacher, Carlton. Vie.: Melbourne University Press,
1988, p.4S.
The Church and Music Publication in Australia
65
one that would be standasd thsoughout all Australian pasishes. 71 Another factor
stimulating local music publication was the difficulty experienced by Lutherans
in importing German books (including hymnbooks) during and just after the
World Was One yeass, together with the bans placed on the printing of German
materiali in Australia. Thus the English Liturgy was soon supplemented by the
first Australian Lutheran hymnbook in the English language with music. Published in 1925, the Australian Lutheran Hymnbook "had widespread distribution
and experienced many reprints before it was superseded in 1973 by the Lutheran
Hymnal. 7J These and numerous other publications of the Lutheran Publishing
House are the fruits of a religious tradition committed to vernaculas worship, to
excellence ID musical praise and to firm quality control of liturgical resources.
&>mewbat similar circumstances prompted the publication of the Book of
Worship in 1990 for the Reformed Churches of Australia." Of Dutch descent,
and astiving in this country from the 19505 with a strong Calvinist metrical
psalm singing background, the people of this church eventually saw the need for
an English language psalter and hymnal. Not only did they achieve this thsough
their own publishing company in Geelong, but also extended their metrical
psalm rrpertoire to include a diversity of hymns and worship songs."
The force cif local circumstance on music publication was undoubtedly most
dramatically displayed with the success of the Australian Hymnbook. Established
in 1968 as an ecumenical· body involving Anglicans, Congregationalists, Methodists and Presbyterians, the planning committee gained the necessary financial
backing for publication only after inordinate time and effort." But the very
timely establishment of the Uniting Church of Australia in 1977 (within a short
time of publication) ensured a ready masket for the book. In addition, the im-·
primatur from Archbishop Freeman of Sydney made the book in its Catholic
Supplement edition acceptable to Catholic parishes also. A hymnbook is a very
complex form of music publication, involving the very difficult issue of content
selection, along with detailed editing of text and music, exacting page layout requirements, the preparation of multiple indexes and not least a minefield of
copyright acknowledgements. In all of these respects the Australian Hymn Book
is exemplary, and these features have accounted lasgely for its longevity, impressive sales figures and for the success of the international edition With One Voice."
The Australian Hymn Book has now been superseded by Together in Song pub71. Graetz, pp. 136-7.
72. Australian Lutheran Hymn-Book, with Tun", Adelaide: Lutheran Pu!?lisl\ing Co., 1925. See
also Graetz, p.I40.
.
73. Lutheran Hymnal· Authorised by the Lutheran Church of Australia, Adelaide: Lutheran
Publishing Co., 1973.
.
74. Book of Worship, Reformed Church" of Australia, Geelong: Reformed Churches Publishing
House, 1990.
75. Warren, pp.92-6.
76. Australian Hymn Book, p.ixi
77. With One Voice: A Hymn Book fOr All the Churches with Ntw Zealand Supplement, London:
Collins Liturgical, 1982.
66
Bibliographical Society ofAustralia & New Zealand Bulletin
lished in late 1999 by Harper Collins with an even broader ecumenical base.'"
Time will tell whether it will enjoy the same prestige.
Yet another aspect of Australian church activity which stimulated a deal of
music. publication was the choral tradition which flourished in protestant
churches from the period of the gold rushes to the mid twentieth century. Allans
Music has published anthems from as early as the 1850s, but in the fIrst six decades of the twentieth century when suburban and country church choirs could
boast memberships of 30 and more, this publisher provided a suitable and extensive repertoire with its Allan's Anthems series. Totaling 490, these anthems were
inexpensive; they were within the musical capacity of modest parish choirs and
embraced a diverse repertoire of old favourites and contemporary· works. SignifIcantly, Anthem No. 1 is The Hallelujah Chorus by HandeI. What is truly remarkable about Allan 's Anthems is the degree of Australian representation. Among the
34 local composers so far identifIed are the well-known Fritz Hart," Alfred
Hill" and Alfred Boyd" but also 'little-known composers such as Arthur Crook,
who was Director of Music at St Andrew's Presbr,erian Church in Bendigo during the early decades of the twentieth century. ' Unfortunately the demise of
church choirs along with declining church attendance eventually rendered the
series unprofItable and they are now out of print.
The foregoing exposition has shown something of the longstanding, signifIcant and extremely varied role of churches in the history of Australian music
publication. The demise of publication opportunity (in the traditional sense) in
recent decades for anthems, motets and service music has been confrrmed.
Changing patterns of church attendance, a general decline in church choral traditions and the widespread adoption of more contemporary and popular styles of
music in many congregations are seen to have contributed to this demise. The
Australian Music Centre obviously provides a valuable alternative mode. of dissemination, but only for a relatively small number of composers of church music.
Most composers of traditional music for the mainstream denominations have in
recent times sought publication overseas or have turned to seIf-publication by
way of desktop technology (usually with very limited distribution).
It has been seen that hyrnnbooks, the staple musical resource of most
churches, have stimulated a deal of music publication in Australia (particularly
during the twentieth century) and in several instances with great commercial
success. However compilations of contemporary worship songs have become
more prominent over the last three decades, reflecting changing trends in musical taste across numerous denominations. Interestingly, !hi! is the genre that is
associated with the most successful publishing ventures in recent times.
L. Bartlett, 'Not another Hymn Book!' One Voice 14 (2),1999, pp.2-5; 15 (1), 2000, pp.3-<\.
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 of My Soul, Melbourne: Allans, [193-?]; Blm th, Lord, 0 My Soul, Melbourne: Allans,
[193-?];and T,achM, Thy Way 0 Lord, Melbourne: Allans, [195-?],
78.
79.
I
I
I
I
I1
I.
I
!,
The Church and Music Publication in Australia
67
A number of factors have accounted for thriving patterns in the publication
of church music in Australia over the past two centuries. The existence of a
flourishing tradition of church choirs between the 1850s and the 1950s accounted for an extensive demand, particularly of anthems; editions such as
Allan's·Anthems (incorporating well-known 'classics' and works by numerous
local composers) provided very handsomely for this market. Particular liturgical
needs by denominations have also stimulated local publication. In this respect
the Catholic Church, particularly in response to the challenges posed by the
Vatican 11 legislation of the 1960s, prompted an enormous amount of locally
published music. Circumstances specific to the Australian context of certain denominations, especially the Lutheran and Reformed churches, have also been
found to occasion the local publication of vernacular service music and hymnbooks.
Other contributing factors stimulating Australian church music publication
have surfaced in the discussion. One concerns the practice of Australian publishers joining forces with larger firms overseas. This is the case, for example, with
NLMC Publications (publisher of Gather Australia [1995]) which is linked to
the enormous CIA Publications in Chicago with obvious financial benefit. Another strategy, demonstrated most compellingly by Hillsong Music Australia,
has been for the publisher to adopt a highly entrepreneurial policy and to engender 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, is
subject to market forces and must respond to these in order to survive.