In 1964, Kirchmeyer founded the studio-reihe für neue Musik (Studio Series for New Music), which he named WERGO after the publisher Werner Goldschmidt. As Scientific Director and Head of Program and Production, he supervised the first eleven editions. These were conceived as a novel analytical series featuring vinyl records as accompanying demonstration tools and elaborately designed scientific supplements to elucidate selected historical events in the history of New Music (for the history of its origins, cf. Marginalien zur Gründungsgeschichte der Wergo-Studioreihe für neue Musik, in: Jahrbuch Neuland, Vol. III, p. 177, Neuland-Musik-Verlag Bergisch-Gladbach 1983).
In 1974, he initiated the vinyl record series Düsseldorfer Hochschulkonzerte (Düsseldorf University Concerts), followed in 1976 by the university’s own series of art exhibitions, and in 1978 by the first official newsletter of a music academy in North Rhine-Westphalia.
Between 1981 and 1988, utilizing funds from the state, the Art and Culture Foundation, and private donors, he developed the Ars gregoriana series. Comprising over 400 compositions, more than 100 Gregorian prayers and readings, ten masses, and a complete Office on 33 vinyl editions (including one double and one triple album), this remains the most extensive documentation of Gregorian music to date and simultaneously constitutes the final complete series in the history of the vinyl record.
Under his leadership, the Robert Schumann Conservatory in Düsseldorf became the second-largest music academy in West Germany within a few years and subsequently evolved into an independent state college of music featuring unique degree programs and the numerically largest church music department of all German music academies.
In 1977, Kirchmeyer established the Theological University Days as a complement to the artistically oriented Church Music Weeks in Neuss. From 1976 to 1980, in collaboration with the Albiez company, he developed the “Glass Organ,” equipping it with a specially designed stop-display panel. Furthermore, starting in 1976 under the name Musikdidaktisches Museum (Museum of Music Didactics), he built a university-owned museum of instrument making. This collection comprises a mixture of originals, playable replicas (including the Organ of Aquincum), and various exhibits, including a sounding organ display wall featuring all pipe types used in organ building.
Kirchmeyer concluded training agreements with the Bundeswehr (German Federal Armed Forces), both major churches, and local theaters. He realized the first state-funded artistic development project (künstlerisches Entwicklungsvorhaben) at a North Rhine-Westphalian music academy, focusing on silent film music. Following the establishment of an Institute for Music Theory, Kirchmeyer founded the first Institute of Musicology at a music academy in 1993 and introduced the right to confer doctoral degrees under university-standard conditions.
The Partika-Saal, completed in 1993, was included in the list of award-winning, artistically exemplary structures in North Rhine-Westphalia just a few years after its inauguration as a chamber music hall and orchestral rehearsal space. As a final construction project extending beyond his retirement age, between 1995 and 2000 Kirchmeyer established a devotional room below the Partika Hall. Elaborately designed by Emil Schult and primarily financed by the Hempel company, it serves as a liturgical celebration space for church musicians (cf. the brochures Symbolik einer Krypta).