Hello from the West region! This year we will be posting about everything from professional development, planning events, organ repair and maintenance, and self care! We hope to cover a broad range of topics that will help us all grow and develop, regardless of where we are in our present careers.
Archives for November 2017
Southwest: How to look for a job: Resources, What to look for, How to read ‘between the lines’ in a job description
Greetings from Southwest AGOYO! This year, we will be featuring posts about how to maneuver in our job market. From dealing with congregations and clergy, to the best way to prep for an interview with a pastor, to knowing when it’s time to move to a new church position, we have you covered! We are looking forward to sharing insights with all of you as we transition from college to the workforce or within the workforce itself.
–Logan Herod
Southeast: The Cost of a Career
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.
North Central: Focus on German Organ Music
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.
Southwest: How to Prepare for Interviews and Auditions
Greetings, friends! As part of the Southwest Region’s ongoing theme of professional development, I wanted to post today about an issue that many may consider an awkward topic: how to know when it’s time to leave.
This is a bit of a difficult topic for some of us and it’s one that we often don’t even consider until we’re starting to wonder why we haven’t left yet. My goal is to get you thinking *now* about these things so that, if/when the day comes, you’ll be ready.
A few weeks ago, I was looking through Facebook and noticed a post by an older gentleman asking for opinions on how one should know when it is time to “hang up your shoes.” There were several great responses in the comments that followed, but I was concerned at the lack (at least so far) of a certain question I believe is one of the most important – Is it still fulfilling? I believe that it is safe to say that very few (if any) of us have gone into the music industry to make money, nor have we any misconceptions about the often-accurate stereotype of the ‘struggling artist’ and how, at least for a substantial amount of time, we will likely fit into that stereotype all too neatly. Eliminate a desire for great wealth and the next most logical reason most of us could give to one who is questioning why we are musicians is something along the lines of, simply, “I enjoy it.”
Think of your own position. Why are you a musician? Not only does it not fit the tropes in other fields of studies being ‘encouraged’ by parents/mentors in order to land a steady job in the future, but it actually is often quite the opposite. How many of us chose academic paths centering on or revolving around music, *despite* the many extra challenges and obstacles that placed in front of us? At some point, (hopefully this is still very true for all of us now) we have enjoyed making music and being a musician has been fulfilling to us.
Now for the harder question: what happens when that is no longer the case? What happens when you discover that you no longer derive satisfaction, fulfillment, and joy out of being a musician? It can happen at any age – not just when it is close to time to retire. In a world like the one today, a world packed full of distractions and “greener grass” mirages, it is absolutely critical that you CONSTANTLY evaluate yourself and your job to determine if it is still bringing you joy and contentment.
That’s not to say that a job can’t have its difficulties. Most, if not all of us have experienced difficulties, hazards, and obstacles, whether that was relationships with fellow staff members, with congregants, with colleagues, or even just general stresses of a busy job. We have to be able to look *beyond* all of that to be able to answer that important question above.
There are obviously many other important factors when it comes to determining when it’s time to leave. Many of these fall under the headline of “important, but not something I really want to ask myself because I’m slightly afraid of what the answer will be.” These questions can include (though are not limited to) ones such as…
- Is this position appropriate for this point in my career?
- Does this position fit into my final career goals or can it at least contribute a reasonable amount of experience and character/musical development to fit?
- Is my work valued? (It is important here to be as objective as possible and include questions about your own work and ways you can improve to be absolutely sure that it deserves greater value)
One final question that many of us often forget to include is, “Have I gotten too comfortable?” While comfort, contentment, and peace are crucial in any position, there is a fine line past which comfort can begin to translate into laziness. Have you been doing the exact same thing for the past ___ years? Have things started to become stale (keep in mind that successful programs can still be stale and vice versa)? Especially as young organists, it is important that we consider that the position we currently hold likely will not be (nor should it be) the job we still have when we retire. Evaluating [critically and objectively] the stagnancy of a position we’ve held for a long time is vital in determining if it is time to move on or if something else can be done to reinvigorate things.
I am not an expert on this subject. With the exception of my newest job change, most of my changes have been due to moving away, and my latest was simply a large step up in my career and, in that way, became just as necessary as changes due to moving away. However, I believe that this is a not-oft-discussed topic that can easily become a source of pain and angst at any age and at any point in our musical careers. Please feel free to share your own suggestions in the comments. While I ask that you generalize names/places, feel free to share your own experiences. Remember that all of this is to help out your fellow young organists!
West: 500th Anniversary of Reformation. What was its significance to music history
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/