In 1970, when Beltz announced his retirement from this activity, attendees voted to establish a group that would continue the camp and expand its work of promoting the best in church music, and Mayes was elected president.

For the next six years Mayes spent countless hours visiting with musicians and pastors, drawing up a constitution, soliciting funds and recruiting members. As the group expanded to include other like-minded musicians on the West Coast, the idea of becoming a national organization gained momentum.

Finally, in the summer of 1976, during a workshop for North American Division college and university teachers at Andrews University, the CMG was established as a national group and held its first meeting. It was an exciting time as those in attendance discussed the potential for this organization to create unity among Adventist church musicians and to improve the quality of music in worship. Mayes was elected first president of the national Guild.

Although he immediately began to place the national guild on solid footing, Mayes was slowed by an illness that had been diagnosed three years earlier. In spite of a steady decline in health caused by the debilitating effect of progressive kidney failure, he battled on, exuding an enthusiasm that belied the sobering personal reality he was facing. Even after reluctantly stepping down as president in 1980, he continued to work on behalf of the organization until his untimely death in 1984.

There was concern that IAMA would be in direct competition with the CMG. At that meeting reassurances were made that IAMA was for all Adventist musicians and that we would support the CMG in their work in church music. IAMA, which at that time consisted of subdivisions (keyboard, vocal/choral, band, orchestra, etc.), had purposely not created one for church music, wanting not to detract from the work of the Guild. IAMA would subsequently provide support for the Guild by buying and placing advertisements in its publication.

Read was followed by Douglas Macomber, who proactively worked to place the Guild on a more solid basis during his two years as president. A centralized address was established, a bulk mailing permit obtained, and incorporation as a nonprofit organization was accomplished. Additionally, the Guild, which had been organized around the idea of local chapters, sought to create new ones across the nation. In spite of these changes, however, a decline in members continued.

Her successor as editor, Douglas Macomber, changed the format two years later and increased the size of the magazine. When it was renamed Adventist Musician in 1984, it had twelve pages and a readership of 500. Two years later, when Macomber was elected CMG president, Joylin Campbell-Yukl became editor, and the magazine was renamed the Journal of Music Ministry.

At the 1988 convention, held at Atlantic Union College, concerns were expressed over declining membership, spiraling costs, and financial losses. The board decided to publish a "Friendship Issue" of its magazine which would present ideas for worship music with broad appeal and could be sent to all Adventist pastors and Adventist musicians in the North American Division.

A 28-page issue was prepared that included articles on multiculturalism, pastors and musicians sharing in worship ministry, developing music programs in SDA churches in which musicians and pastors could work together to develop dynamic services, and the need to develop an understanding of "minority" music. Other articles described the new organ recently installed in the Central SDA church in San Francisco, reviewed the Companion to the New Church Hymnal, and presented a pastor's experience in establishing and working with a church worship committee.

The mailing, which was subsidized by the General Conference, included a return membership and donation card, as well as a registration form for a national convention to be held in Portland, Oregon, that summer. It was hoped that this convention, with its varied offerings, coupled with extensive promotion, would attract a large number of attendees and give a boost to the Guild.

The response was disappointing on all fronts. Following the convention, Guild president William Ness observed in the July-December issue of the Journal:

In that same issue, Campbell-Yukl announced her resignation as editor of the magazine. During her time in producing the Journal she had tried to broaden its appeal and that of the Guild by creating "a resource for creative ideas in 'worship,' not limited to music or musicians." She observed;

Over the years, Guild fundraising efforts increased the endowment, which was renamed the Oliver S. Beltz Chair of Sacred Music. Proceeds from the endowment, which now exceed $273,000, help fund the salary of a person who teaches a required class in sacred music at the seminary.

While the Guild had started its work dealing with worship music from the perspective of the classically trained musician, it had hoped to be heard by both musicians and pastors. The problem is that there wasn't a longstanding tradition in church-supported music ministry in the Adventist church, nor in musically informed ministers, and trained church musicians.

While initially its goal was appeal to both musicians and pastors, it at times did not and, consequently, it failed to create a broader base of support. By the time of Macomber's leadership and that of his successor, William Ness, and the "Friendship Issue," when valiant attempts were being made to broaden the organization's base by expanding its focus and mission, it was too late.

Through its efforts it had created a greater awareness in the lives of many musicians and pastors of the importance of music in worship and the need for dialogue between those who minister through music and through the spoken word. Additionally, through its work in helping fund the Oliver S. Beltz Chair in Sacred Music in the seminary at AU, all who now study there are made aware of the issues in, and the importance of, music in worship.

2004

This article is based on information in SDA Church Musicians' Guild magazines and conversations with Carol Mayes, Gladys Benfield, John Read, Douglas Macomber, and William Ness. A special thank-you to Carol Mayes for her assistance. An informative additional source not used when this article was prepared is Carol Mayes and John Read, "Adventist Musicians' Guild sores noteworthy gains," Adventist Review, 13 June 1985, 11, 12.