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There was war, social revolution, and racial genocide. The church's mission was challenged in a fast paced, post-Christian world. Luther's openness to music and the arts as proclaimers of the Gospel continued to encourage musicians and artists. Composers adopted traditional, ethnic, and new technological resources along with a wide variety of instruments for their work. Technology also shaped attitudes and perceptions, brought music to the masses, and provided instant access to global information. World wars, ethnic conflict, and cultural upheaval consistently marked the 20th century. Oppressive political systems—including the Third Reich, the Soviet Bloc—and societal iniquities of racial privilege and class system slipped away. New efforts began to bring dignity and livelihood to all humanity The lavish narcissism of late Romanticism was abandoned in favor of cultural expressions able to speak to 20th century life. Music, the arts, theology, and philosophy were repeatedly subjected to
fundamental critique. In this age of cultural and political revolution, serious composers reacted to the music of Romanticism they had inherited. Advances in technology, recording, and mass distribution made music available to people as never before. Scientific research opened up new possibilities in communications, media, and the arts. It was an age of eclecticism and experimentation—and recovery and reform. Lutheran church musicians faced the challenge that many congregations had lost their rich spiritual, cultural, and musical heritage. The use of music considered more "accessible" and "attractive" to the unchurched resulted in a song that often altered, obscured, and compromised the radical Gospel message. Luther's conviction that music and the arts should speak the clear language of faith had much to teach the 20th century church. By the beginning of the 20th century, the Lutheran chorale tradition
had been radically weakened by a variety of influences. Throughout the
century, the rhythmic chorale tradition was reintroduced. And by the end
of the century it had found a place in most every Lutheran hymnal. Recovering the office of Cantor proved to be fundamentally important for Lutheran composers' self-understanding as liturgical musicians, whose work serves and is shaped by the church's worship. For many, Hugo Distler modeled the liturgical musician's work. He was dedicated to tradition, and at the same time, explored new harmonic, rhythmic, and melodic techniques for voices and instruments. The 20th century also saw the development of a large group of parish
composers who provided significant music for Lutheran congregational worship.
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