One can tell from the topics presented at the very first Valparaiso University Church Music Seminar held in 1944 that important church music issues were already being discussed. The essays included:

• Benefits Derived from a More Scholarly Approach to the Rich Musical and Liturgical Heritage of the Lutheran Church
• The Chorale—Artistic Weapon of the Lutheran Church
• Problems Connected with Editing Lutheran Church Music
• Is the Musical Training at Our Synodical Institutions Adequate for the Preserving of Our Musical Heritage?

There are other topics, but these four indicate the tone set for that significant meeting of church musicians. Forty-eight organists and choir directors gathered for the first time in Valparaiso, Indiana. They knew that it was time to bring American Lutheran church music home to its chorale-based roots. There was a textual and musical treasure just waiting to be used in this country. They knew it, but the rest of the country seemed to be ignoring it.

For in 1944, American Lutheranism was headed solidly on a course that warmly embraced all that surrounded it in American culture. Dr. O. P. Kretzmann wrote in the volume of essays printed after this first conference, “The greatest contribution of the Lutheran Church to the culture of Western civilization lies in the field of music.” Even at that early date many, including the Drs. Theodore Hoelty-Nickel and Walter E. Buszin, saw that something was very wrong, because that “greatest contribution” had been left behind.

What followed was an effort to wake up the church to its musical heritage. This was done in every way possible by this influential group of theologians, scholars, and church musicians. Their annual conference grew, and chorale- based publications flourished, as did the influence on the Concordia colleges and seminaries that helped to make them significant teachers of this heritage .

The essays that follow present a timely defense and encouragement for the Lutheran chorale tradition. Written for an earlier time in our church’s history, they are equally applicable for the twenty-first century Lutheran church.

The Good Shepherd Institute gratefully acknowledges the outstanding contribution of Constance Seddon as editor of The Musical Heritage of the Church resource as presented here. We are also indebted to Concordia Historical Institute, St. Louis, Missouri, for use of the equipment to scan these essays.

For personal use only. Please note copyright information at the end of each essay.