The purpose of this essay is to document the development of the American Bandmasters Association's Ostwald Award from its inception in 1955 to the present day. The study addresses several aspects of the award's development, taking into account more localized evolution in regard to the award's history, purpose, compositional specifications, and the procedures employed to select the winning composition and composer. Ultimately, the discussion focuses not only on how the award is presented in accordance with its own purposes but the objectives of the American Bandmasters Association. The data for this study are collected through two different methods. The primary method of data collection involves an examination of documents and other associated materials located in the ABA Archive at the University of Maryland. A secondary method of interviews is utilized in order to augment the written record and overcome its deficiencies. Participants in the study include Ostwald Award Committee members and chairs both past and present. While the Ostwald Award has recognized forty-seven compositions since its inception, no formal consideration of the award's history and contribution to the wind band repertoire has been undertaken. Such is the aspiration of this essay.