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Hello from the Southeast! This month, I blog about the biggest source of stress for college students, and how to alleviate it while pursuing a field you love.

​As a graduate student nearly finished with this chapter of my education  at Mississippi College, I often consider the stark numbers published in a recent issue of The American Organist regarding the number of organ performance majors in the country. It will not shock anyone to hear that the numbers have dropped each year.

This results from a variety of factors, but I hope to address the most stressful aspect of life as an American college student, according to a recent study by Ohio State University: money. Of 19,000 students surveyed, 70% voiced tuition costs and day-to-day expenses as their greatest source of anxiety.

With majors such as visual arts and music topping many unemployment lists, and top music programs for organ performance costing more than $160,000 just to attain a Bachelor’s, it seems inevitable that fewer students enter the field each year. According to the Guild, 90% of available organist jobs are part-time, which may not appeal to students spending up to $300,000 for top-tier graduate schools.

But these numbers don’t tell the whole story.

While I can’t guarantee scholarships or good jobs, I want to dispel the myth that organ degrees are too expensive and don’t “pay off.” 

Many young college graduates in a variety of fields struggle to find jobs. According to Business Insider, majors that may appear more practical such as biology, mass media, environmental science, and communications yield the highest percentage of unemployed graduates. In fact, music did not appear on that list.

Although music degrees can require a hefty price tag, many schools have noticed their suffering and increased scholarships accordingly. A degree in organ or sacred music with an emphasis in organ can often qualify for organ-specific endowments.

1. The availability of part-time jobs allows for students to work while in school.

Just recently in my city, five churches were offering part-time and two were offering full-time organ positions. Because Jackson, MS is not nearly as big as other metro areas, the multiple job openings tells me that other cities probably have equally large needs for organists, if not more. All the student organists I’ve known have been steadily employed on Sundays and Wednesdays since sophomore year of my undergraduate degree—a direct result of beginning to learn the organ in my freshman year.

Many students across other work fields pick up minimum-wage jobs that require more hours, and often inflexible, but part-time church work tends not to interfere with school. A colleague of mine didn’t study the organ until nearly the end of undergraduate career, but picked up a job that fits his schedule within a short time of moving to MA.

2. Organ degrees often provide transferrable skills.

As one of my fellow AGOYO-SE board members pointed out, many music majors who don’t find full-time jobs in music after graduation generally succeed in non-music fields. The discipline, flexibility, and resourcefulness that accompanies an education in organ will transfer to other employment opportunities. Within the field of music, organists can also compose, arrange, lead choirs, write liturgy, cantor, teach, and the list goes on.

While majoring in organ doesn’t mean that everyone will acquire every one of those additional qualities, it is likely that an organ degree will provide instruction in at least some of those areas.

3. An in-state or smaller school can offer unique opportunities.

Everyone wants to attend the most prestigious schools, but this can result in overcrowded practice organs with outrageously low availabilities. Schools that don’t offer doctoral programs also tend to have fewer TAs, and thus eliminate the issue of dealing with an inexperienced assistant for classes like theory or aural skills. Similarly, smaller classes sizes can allow professors more time to thoroughly evaluate lengthy assignments.

Out-of-state tuition is responsible for some of the worst price tags, and nearly every state has at least one option for aspiring organists. If you live in the Southeast, check out our website database of local organ schools. Save the travel expenses and out-of-state tuition for your Master’s, when you can nab a paying assistantship!

And let’s face it: departments for all majors can become highly competitive in areas where job positions fill quickly, and students are vying for particular professors’ studios. Smaller colleges promote camaraderie with less local competition. In a time when mental health among undergrads and graduate students is notoriously low, a welcoming and unified student body is essential to a positive experience.

There’s more than one way to receive a substantial music education, and even more ways to offset tuition. 

No matter what path you choose, there are probably more options than you think. In the post-Recession economy, the idea of following one’s dreams may seem impractical, but I knew from a young age that I wanted to make music in the church. The three above points are just some of the ways that can offset the cost. There are many myths surrounding a major in music, especially organ, but I hope this article has put at least some of them to rest.

–Amy Lauren Jones, SE blog coordinator

The Cost of a Career was originally published on the Southeast AGOYO blog.

Greetings from the North Central AGOYO,

This month we are focusing on German Organ Music! This post will briefly discuss both the North and South German organ schools. Along with recordings, a few composers from each school will also be highlighted.

Photo: The Trost organ of Waltershausen, with its 47 stops and 6 transmissions, is the biggest baroque organ in Thuringia. It is largely preserved in its original state of 1730 (a good 70% of the pipe material was built by Trost) and therefore is an invaluable reference when performing organ music by J. S. Bach and his contemporaries. Today this organ is viewed as the most authentic “Bach organ”. (www.organartmedia.com)

German Organ Schools

North German – organ preludes and chorale fantasias are developed. Organ building began to vastly improve by including two or more manuals, a pedal board, and a wide range of stops.

• Interestingly, Dutch composer, Jan​ ​Sweelinck​ is considered the founder of the North German organ school. His variations on Mein junges Leben hat ein End’ are part ofstandard organ repertoire.
• The works of Dietrich​ ​Buxtehude​ are regarded as the pinnacle of this tradition. His organ works are cherished by organists; young and old alike. His chorale prelude on Wie schön leuchtet der Morgenstern is a favorite for the Epiphany season.
• One cannot discuss German organ music without the extensive contributions of Johann Sebastian​ ​Bach​. His tireless work went largely unnoticed during his lifetime and was not appreciated until after his death. What a gift to the church! I include my favorite work, Prelude and Fugue in E Flat Major, BWV 552.

South German – limited stops used, no pedal; much like Italian music. This music focused on the melody, harmonic clarity and sound; while having an improvisatory nature.

• Johann​ ​Froberger​ is noted as the first important composer of the South German organ school. Froberger visited Italy and France (under the influences of Frescobaldi and de Macque) in order to perfect the craft of his compositions. His toccatas are widely used in programs throughout the world.
• The city of Nuremberg was graced with the talents of Johann​ ​Kindermann​ ​during the first half of the 17th century. His example of a chorale fugue would later serve as a model to both Bach and Pachelbel.
• The peak of the South German organ school is attributed to Johann​ ​Pachelbel​. While a majority of his works are secular in nature, Pachelbel continued to develop the chorale prelude and fugue. In honor of the 500th anniversary of the Reformation, we listen to a recording of his setting of Ein feste burg.

Good evening, and greetings from far away in the West!

As many of us are aware, this year marks the 500th year since the traditional beginning of the Reformation. Although we may not all be celebrating it in our congregations, we must acknowledge the role that Martin Luther played in sacred music. Many great compositions come from the Lutheran tradition, from J.S. Bach to Paul Manz, and many more.

Are you celebrating Reformation Sunday this year? Are you going to sneak in some Bach? Go all out with choir and brass, or maybe your church is just going to pass? Tell us in the comments below. I’m certain some good ideas will surface.

https://www.spectator.co.uk/…/04/luthers-music-had-an-even-g reater-impact-than-his-words/

Greetings from the Mid-Atlantic Region! We will talk this year about moving from playing the piano to playing the organ.

It happens inevitably in the pianist’s career that he or she will, at some point in time, be asked to play the organ. The request comes most often from those who do not understand the niceties of technique, touch, and coordination associated with the various instruments in the keyboard family, and it is assumed that if one keyboard looks like another, than it will be an easy enough affair to transition from one to the other. Indeed, certain gifted artists within living memory have successfully attempted this feat. The majority, however, feel a lack of certainty upon hearing this request, and some have even reported feelings of terror and existential despair.

We, the Officers of the Mid-Atlantic AGOYO, wish to address some of the concerns and issues associated with transitioning from piano to organ, therefore making seamless and smooth what once was perilous and uncertain, and to this end, we have designed a course of study for those who wish to embark upon this noble undertaking.

In this course, we will discuss such topics as the Mechanics of the instrument, the Sounds it is capable of making, the Pedal Board and it’s function, the common Repertoire of piano and organ, the Registration of organ repertoire, the practical performance of Hymns, Service Playing, and finally Repertoire and Career Growth. The Mechanics topic will endeavor to explore the construction and appearance of the organ, and the technical problems associated with the different types of instrument construction. In the Sounds topic, we will explore the tonal resources of the organ, as well as regional and builder specific sound classes. The Pedal Board topic will introduce the intrepid reader to the function of this essential part of the console, associated exercises, regional and period technique. Our common Repertoire topic will explore what piano works transition well to the organ, and how to register such compositions. Registration follows, quite logically, and we will explore the practical application of the tonal resources of the average instrument to repertoire present and past.

Additionally, we will discuss the application of those odd stops with no immediate practical use. Hymns and Service Playing go quite naturally hand-in-hand, but both topics are sufficiently unwieldy as to warrant separate lectures. Practical registrations for hymns, as well as conventions and certain tricks of the trade, will be discussed in the former, while in the latter we will explain the differences in liturgy between those denominations that employ an organ in worship, and which related skills the prudent church organist would be wise to develop. Finally, we will cover Repertoire and Career Growth, in which we will discuss the various exams available to the enterprising organist to prove mastery in related topics, how to find a teacher, how to join the American Guild of Organists, and how to search for jobs.

Various pitfalls and difficulties present themselves to the initiate in the art of organ playing. It is of vital importance that the process of learning not be rushed, and that a methodical approach to mastery be observed at all times in the course of studying the organ. Too often the neophyte, perhaps overzealous in his or her endeavor, or even rendered careless in light of recent mastery of another element, embarks on the next step in learning without first laying a solid foundation in the previous step. Such a heedless approach has undoubtedly resulted in many instances of sloppy and haphazard technique, or an incomplete grasp of the history, theory, and common practice in performance of certain repertoire.

It is also easy to become disheartened at any lack of progress toward mastery, and these students we cannot encourage enough to remain steadfast in their pursuit. The organ is by far the most complex instrument to master, requiring as it does the independent movement of hands and feet, and an unparalleled understanding of music theory and history. Such lofty goals take a lifetime to master.

Finally, we also encourage prospective students to be careful in selecting a teacher and learning resources. The teacher should be both patient and knowledgeable, and the resources must be comprehensive and the information contained therein must not be dubiously sourced. For the latter, the AGO provides a comprehensive bibliography for their exam process and for the edification of organists. For the former, it is hard to go wrong with a good recommendation from a friend working in the field already.

We thank you for embarking on this journey with us, and should you have any questions, please do not hesitate to get in contact either with us or with your regional officers.