R. E. Coleberd is an economist and petroleum industry executive.
Pipe organs advertised for sale by colleges and universities raise serious questions about the vitality of the King of Instruments in institutions of higher learning. Organs that are abandoned or replaced are routinely advertised in the classified columns of The Diapason and The American Organist, an economical and efficient way of reaching potential buyers. However, until now, solicitations by schools have clearly been the exception.
In discussions with active and retired organ faculty and
music department personnel across the country, the author has discovered what
he finds to be a disturbing nationwide phenomenon symptomatic of a paradoxical
trend in higher education. The
advertised sales seem to be the tip of an iceberg. Many organs, having too
often been systematically neglected and abandoned, are now being sold off at an
increasing rate. The experiences of the schools cited below, together with
comments by faculty who, all too often, have watched the sad spectacle of the
pipe organ fading into the sunset, demonstrate that we are witnessing a crisis
with profound implications for cultural life in America.
The purpose of this paper is to create awareness of the
gravity of the situation. We will analyze causes of the phenomenon and give
examples to illustrate the scope of the problem in both auditorium, concert
hall, practice and studio instruments. The reader will, no doubt, be aware of
similar examples elsewhere. Each one differs but there are common threads
through all of them. We will offer
recommendations on how persons who are deeply distressed by these ominous
developments--because their lives are so closely connected to the instrument: faculty, students, alumni and concerned laymen--can protect and promote the pipe organ in an academic setting. In retrospect, we believe the S.O.S. should have been tapped out thirty years ago.
Background
We begin with the premise that a pipe organ on a college
campus is an integral part of the intellectual, cultural, artistic and musical
resources of the school, standing alongside the telescope in the observatory,
the paintings and sculpture in the art gallery and the book collections in the
library. These time-honored treasures of a campus setting constitute the raison
d'être of institutions of higher learning, traditionally the trustees of
our culture and the guardians of our future in science and the arts. They make
possible its mission and accomplishments, and define its status and recognition
among its peers.
We continue with the admonition that a pipe organ is
symbolic of the achievements of western civilization and the legacy of our
European origins. It embodies the collective experience of generations in its
recognized prominence in the creativity and expression of music as well as in
architecture, technical developments and craftsmanship. Without the King of
Instruments, the great music it made possible would not have been written, and
without this rich tradition the instrument would not have enjoyed its glorious
position in history. The pipe organ embraced the finest craftsmanship in
Europe, just as precision workmanship survives in organbuilding today, symbolic
of the artistry of hand-crafted objects. In technical strides, the instrument
was the equal of any developments in the 19th and early 20th centuries. At the
turn of this century, the pipe organ was perhaps the most complex mechanism
ever developed. The combination action and other features of the console,
particularly the unrivaled Austin combination action, were an example of binary
algebra and an immediate predecessor of the computer. The Skinner player
mechanism on residence organs employed a pneumatic/mechanical computer to
decipher the rolls; in retrospect a further development of Charles Babbage's
difference engine dating back to the 1820s.1
Therefore, a pipe organ is not merely an appliance or
teaching device. Its value and contribution, along with other cornerstones of a
campus setting, are in the perpetuation of an atmosphere of excellence in
learning and human aspirations in culture and the arts. Sadly, these timeless
elements have gone largely unnoticed today by college administrators and state
legislatures who fail to recognize the stature of the instrument in their
budgetary deliberations and who base their decisions on square feet of space
required, number of credit hours generated and dollars of support necessary.
The fate of the instrument and the crux of the problem is,
in many ways, a manifestation of the unique characteristics of the pipe organ
which set it apart from other campus resources. The pipe organ in an
institutional setting suffers from a spatial, temporal and what some might call
an existential problem. In comparison with other musical instruments it is
quite large, requires considerable space, is fixed in location and, therefore,
its musical delivery is confined to the proximity of the instrument. In
contrast, violinists and pianists perform in a variety of venues the world over
thereby fostering a close symbiotic relationship between themselves, their
music and the instrument. Moreover, as Will Headlee points out, because of the
nuances and complexities of the pipe organ, requiring a close interaction with
the performer, music making on the organ is akin to chamber music which
necessitates a chamber music mentality versus a soloist mentality.2
style="mso-spacerun: yes"> The linkage between organists and the
instrument is not so close in part because they play many different
instruments. The problem is exacerbated when the music-going public think of
themselves as deciding first to go to hear an organ, and second, to hear a
style="mso-spacerun: yes"> particular organist.
style="mso-spacerun: yes"> Sadly, they don't go very often.
Furthermore, those interested in organ music per se have available compact
discs of the world's great instruments, and in the course of listening to them
they become less interested--and less supportive--of instruments of lower
quality and reputation.
The pipe organ is no longer a priority item with music
school deans and department chair persons, who must compete for students and
who struggle to maintain their share of a diminishing campus budget in an
atmosphere of financially strapped institutions. Tragically, pipe organs are
too often considered expendable. As Western Washington's Albert Smith explains: in contrast to other musical instruments, a pipe organ is a "terribly expensive musical medium to purchase and maintain."3 In physical and dollar terms it is rather like
comparing an ocean liner to a rowboat.
A violin may require a new string or two, an oboe a reed.
style="mso-spacerun: yes"> But Smith doesn't have funds in his
budget for a routine service call.
The instrument is also the victim of the pronounced secular
trend in policy decisions in the upper echelons of university administration.
In all but the few remaining traditional church-related liberal arts colleges
which enjoy a very close and continuing denominational affiliation, religious
beliefs are intellectually suspect in the quest for "truth" and
perhaps nothing is more "politically incorrect" on campus today than
organized religion. Religious faith and corporate worship are sometimes viewed
as a sign of personal weakness and dependency. Perhaps because the pipe organ
is so closely tied to the church in the layman's mind, it is perceived as an
antique or museum piece and is, therefore, irrelevant to the pursuit of
knowledge in our time, particularly in the frantic search for "hot
buttons" such as computer science and genetic engineering to generate
publicity and garner public and private financial support.
The declining fortunes of the pipe organ in academe are
also, without doubt, a reflection of the waning interest in high culture in the
baby boom generation. The prior generation, the war babies, were deeply
involved in cultural pursuits, as measured by attendance and financial support.
But their offspring, as surveys show, are two-career families who are often
pre-occupied with television, movies and pop culture, and who frequently spend
their limited time working out at the health club or surfing on the Internet.
Baby boomers' education levels, though higher than their parents, differed
significantly: fewer chose liberal
arts degrees with the corresponding affinity for the arts; more chose business
and engineering. Judith Balfe, author of a forthcoming study comments:
"For their parents' generation, those who had higher education and higher
income, the arts were far more important to their understanding of themselves
and their civic responsibility." Today, audiences are segmented and
targeted by advertisers, and "the sense of a culture--at least a popular
culture--which transcended generations" is gone.4
In the economic and political exigencies of state
legislatures and often their private school counterparts as well, cost-benefit
analysis has emerged, in this era, as the overriding criterion for the
allocation of funds in higher education. Under these mandates, the pipe organ
is acutely vulnerable to changing patterns of student enrollment and facilities
use. One conspicuous development in this trend is the designation of professional schools as "stand alone" enterprises (the law school at the University of Virginia and the business school at Duke University are examples) with sole responsibility for their financial well-being. Presumably they can be funded adequately by tuition, alumni giving, endowments and continuing education fees, all a manifestation of the economic fortunes of these
professions in our society. In contrast, these sources of support are decidedly
limited for the arts. It is
difficult to imagine that the income of a church musician would ever endow a
pipe organ let alone a music department or school.
We must emphasize that there are decided limits to the
market-driven mentality which so pervades our colleges today. An institution of
higher learning is not a consumer products business, like detergents or
toothpaste, in which products (curriculum) are changed to suit every whim of a
fickle public. It is not a middle eastern bazaar in which the travelers
(students) shop in passing for rugs and brass (courses). If a college or
university "sells out" to the marketplace and surrenders every
vestige of intellectual rigor and vitality, it risks becoming a trade school.
Over time, the application of cost-benefit analysis in the funding of state
supported schools erodes the distinction of an institution of higher learning
from any other state agency (prison, mental hospital, orphanage, etc.). The
resulting minimum level of funding substantially diminishes its unique and
time-honored function. Can an
academic institution, let alone a pipe organ, survive in such an atmosphere?
The well-known social critic Thorstein Veblen in his polemic The Higher Learning in America: A
Memorandum on the Conduct of Universities by Business Men
style='font-style:normal'>, identified what we now term the market mentality;
the prevailing emphasis on "practical or useful" curricula as
measured by the payoff in the job market. If Veblen's acid critique was
premature in 1918, it couldn't have been more prophetic of the sad situation today.5
Auditoriums and Concert Halls
In the earlier decades of this century, the college
auditorium was customarily a focal point of the campus landscape, and often an
architectural masterpiece. As a
convocation center it symbolized the collegial atmosphere of the institution.
No auditorium was complete without a large pipe organ, often a superb
instrument by a renowned builder such as George Hutchings or E. M. Skinner.
This was also a period in which the university organist enjoyed high visibility
and a prominent position in the faculty hierarchy beyond his appointment in the
music department, in part because, frequently, he had studied in Europe, a mark
of distinction and status in the professoriate of that era. Presiding at the
auditorium console, his heroic and inspiring music welcomed student and faculty
gatherings for convocations, and he accompanied the singing of the national
anthem and the alma mater. He played the processional and recessional for
commencement, and accompanied the glee club. The auditorium and the pipe organ
thus served as a unifying force in the undergraduate experience, contributing
to that vital sense of community, identity and the search for meaning so
tragically lacking in many schools today. No more! In our time campus speakers
are specialized and appeal only to certain disciplines and departments. Schools
have become too large for campus-wide convocations, and commencement has been
moved to the football field to accommodate the crowd. Moreover, in the
politicized atmosphere of a college campus today, there is too often no common
culture or purpose, no collective embrace of the universal values of an
institution of higher learning. Instead, each self-serving school or department
has become "privatized," looking out for its own interests and
grasping aggressively for its share of the diminishing public and private
funding. Whereas in earlier times the pipe organ was an integral part of the
auditorium and its function, now the instrument is too often underutilized and
dismissed as redundant. In the current use of the building it is merely in the
way, something to be ignored or cast aside.
The rebirth of the tracker organ in the 1950s, first with
widely-publicized European imports, and then with instruments by small domestic
builders, polarized the academic community and called into question the
efficacy of the American classic organ and its romantic and orchestral
ancestors. Music departments philosophically and functionally moved toward
earlier instruments, including the harpsichord. Large auditorium organs were
suddenly deemed out of date and expendable. This was also a time when budgets
allowed for obsolescence and replacement. But not today! Gone are the times
when instruments could be changed every generation in compliance with
nationwide fads and fashions, or to suit the demands of the teaching profession
who argued that a tracker instrument was necessary to attract students and who
were most likely expressing their desire to emulate their peers. Not that
obtaining a tracker was any assurance of protecting the status of the organ in
the school. True, they are smaller and require less space. But because of the
fundamental connection of the organ with church music, there is still the risk
of its being alienated by the deeply entrenched secular outlook on campus.
James Madison University
James Madison University, named for our fourth president, is
a school of 12,500 students in Harrisonburg, Virginia, southwest of Washington,
D.C. In 1937, the then Madison College, one of three teachers' colleges or
"normal schools" in the state, installed a landmark four-manual
fifty-two rank Möller pipe organ in Wilson Hall, scaled and voiced by the
legendary Richard O. Whitelegg.
According to the late John Hose, Möller tonal director, this
instrument was one of the first four-manual Whitelegg Mollers.6 The dedicatory
recital was played by the nationally known keyboard artist Charlotte
Lockwood. In a Möller
advertisement in the January, 1937 edition of The American Organist, the
builder stated that the instrument ". . . has already been adjudged as
definitely outstanding among the best organs in the East."7 This
pronouncement was validated by Senator Emerson Richards, who, reviewing the
instrument in the September edition of the same journal added: "Organ history has begun a new chapter and M. P. Möller Inc. is to be congratulated upon having written one of the first verses."8 Apart from its place in the resources of the university, this instrument is an important milestone in the organ reform movement, and in the history of the Möller Company, for decades one of the premier companies in the American organ industry and now defunct. It is a signature instrument in the career of Whitelegg, an important figure in the twentieth-century legacy of the pipe organ in America. Yet tragically, these factors were overlooked when Wilson Hall was renovated in 1986. The stage was extended to accommodate a variety of venues, but no thought was given to the future of the organ. During remodeling the console was disconnected and stored in an unheated construction trailer which turned out to be its death sentence. As is well-known among organbuilders, a console stored under such conditions will deteriorate; in this case, it disintegrated. A local newspaper story soliciting community support to restore or replace the console of the now-forgotten organ fell on deaf ears. The university administration has made it known that campus investments in the arts will, at the present time, most likely depend upon private funding. In locked chambers today, this majestic instrument stands mute, perhaps never to speak again.
The events at James Madison illustrate another common
problem in the academic fortunes of the pipe organ: the conflict between the music and drama departments in
multi-purpose facilities. In 1968, the university built a fine arts center and
installed a three-manual Möller organ, a welcome sign that the
administration recognized music and the place of the organ in its concept of
the arts. However, as a result of poor space planning and failure to anticipate
overlap in facilities use, the music department soon tangled with the drama
department for use of the performance area. In due course, the music department
lost the turf battle and the Möller organ was taken out and sold to a
church in Ohio. A large four-story building to house the music department was
built in 1989, but budget limitations prevented the inclusion of a recital
hall, which precluded the addition of a pipe organ as an integral and visible
part of the resources of the facility. The only hint of a pipe organ on campus
today is the two practice instruments in the music building. The faculty uses
five instruments in town churches for teaching and student performances.
New England Conservatory
The sad situation in Jordan Hall at the New England
Conservatory of Music in Boston, is the result of discontinuities, conflicts
and budget priorities, beginning in many cases several decades ago, which are
seemingly endemic to the fate of concert hall instruments today. Built in 1902,
Jordan Hall featured a three-manual Hutchings organ which was a notable
addition to the cultural and musical resources of the city. It symbolized, no
doubt, the importance of organ
study in the musical philosophy and mission of the Conservatory, as well as the
significance of a recital and instructional instrument in a concert hall.
Rebuilt and enlarged by Ernest M. Skinner in 1920, this
renowned instrument was widely used and well maintained, with a new console in
1928 and further work by Aeolian-Skinner in 1947. As tastes changed in the
1950s, the organ fell out of fashion and other demands for the hall took
precedence. In 1957, its status was seriously diminished when George Faxon, an
icon figure in the New England organ fraternity, left the Conservatory. His
successor, Donald Willing, ordered two European trackers (Metzler and Rieger)
to define the "new look" in pipe organs for the school. By the
mid-1960s, the Jordan Hall organ was passé and neglected; ten years
later it was was unplayable. In 1995, in an all too familiar policy decision,
the instrument was omitted from a $12 million renovation of Jordan Hall on the
grounds of expense and limited use--the busy hall schedule allows no time for
organ students. One wonders if it
is only a matter of time until the instrument is sold. When an organ is both
unplayable and inaccessible, the chances of its survival are slim indeed.
University of South Dakota
At the University of South Dakota in Vermillion, the
twenty-eight rank, four-manual E. M. Skinner organ of 1928 was put in the dock
two years ago, a victim of deteriorating leather and wind leaks. The school
administration, under pressure to conform to enrollment and credit hours as the
overriding criteria for budgeting, and answering the call of the state
legislature to cut expenses, is uninterested in restoring the instrument. This
experience, common in publicly supported institutions, illustrates the fact
that there are seemingly no appropriations for maintenance, a situation which
is especially devastating for the pipe organ which requires scheduled routine
maintenance, as well as major expenses in the periodic renewal of chest
leather, and today in an electrical upgrade of the console. Today the "Why
do we need it?" reasoning asserts itself as well as the "Look what we
can do with the $100,000 (or more) required when only a few students play it
and hardly anybody listens to it."!
Western Washington University
The 1200-seat auditorium at Western Washington University in
Bellingham, houses a 1951 three-manual Möller organ, which fell into
disrepair and has been unplayable for twenty years. Campus politics have
dictated that the auditorium be used primarily for drama productions. Albert
Shaw, former music department chairman, estimates it would require $100,000 to
restore the instrument to its original condition, an outsized figure as
maintenance budgets go and a sum virtually impossible to justify given the
primary use of the building.
In 1978 Western Washington constructed a 700-seat concert
hall and installed a two- manual tracker instrument to complement three
practice organs. Then, in a familiar story, the theory professor who taught the
handful of organ students retired and was not replaced. Organ instruction was
then terminated only to be resumed after three years and then discontinued
again. Because a service call from Canada, two days at a minimum of $350-$500,
is prohibitive under current department budgets, neither the concert hall
tracker nor the three practice organs are maintained on a regular basis.
The University of Indianapolis
The University of Indianapolis, formerly Indiana Central
College, a United Methodist affiliated school, is yet another example of how
changing priorities and the economics of space use impact the fortunes of an
auditorium organ. It also illustrates the decision to consign the organs on
campus arbitrarily to a music facility and view them primarily as a teaching
and performance vehicle in a specialized and exclusive curriculum.
The recently-sold three-manual Möller organ was
installed in 1963 when the auditorium was used for convocations and chapel
services, campus-wide functions that were discontinued years ago. With the
auditorium now assigned to the drama department, the instrument was deemed
redundant and expendable. The
possibility of enlarging and relocating the Möller was briefly considered
some years ago, but the idea ended
when a new Fine Arts Center was built with a 500-seat recital hall to house a
new tracker instrument yet to be installed.
The evidence to date at James Madison University, the
University of South Dakota, the New England Conservatory, Western Washington
University, The University of Indianapolis and perhaps countless others,
strongly suggests that unless determined action is taken, auditorium pipe
organs may be doomed, especially if the building is the only performance
facility on campus.
The provision of a separate "Jewel Box" recital
hall for the pipe organ, as for example at the universities of Arizona and
Iowa, is viewed by some observers as a mixed blessing. On one hand, it would
appear to guarantee a permanent position for the instrument, insulating it from
the competition for space elsewhere in the building. On the other hand,
removing the organ from the mainstream of the music department, as well as the
rest of the campus, threatens to isolate it and erode the much-needed support
of the university community.
The greater use of off-campus organ resources by music
departments is an emerging trend that is viewed positively in certain quarters
of the teaching profession. At the University of Washington, Carole Terry
considers contractual arrangements with Seattle churches to be one of the
strengths of her program. These instruments, of various periods and tonal
design, complement the Paul Fritz tracker on campus, and afford the students a
much broader orientation to the pipe organ and to the spectrum and
interpretation of its literature. They also offer attractive teaching and
performance opportunities.
This is the position of Frostburg State University in
Maryland which recently sold a 1970 Tellers organ, an instrument that had
suffered from a poor location and whose installation had never been
satisfactorily completed due to budget limitations. The faculty have long used
two excellent and recently updated Möller organs in Cumberland, within
walking distance of the campus, for teaching and performances. That this is
viewed as a permanent solution to the organ resource needs of the school is
reflected in the fact that the recital hall in the recently completed
multi-million dollar fine arts center omitted any space provision for a pipe
organ. A small, five-rank portable organ, to be used largely for accompaniment,
will be the only hint of a pipe organ on campus.
Arrangements between schools and local churches bodes well
for the pipe organ by reinforcing the linkage between the instrument and its
music in a liturgical setting. Yet it also suggests a lack of commitment to the
organ program in resource and curricular decisions of the school and a tragic
neglect of organ music as a foundation for a high quality education in music.
In the tenor of this paper, it ignores the place of a pipe organ in the broader
cultural dimensions of an institution of higher learning. A small portable
instrument to accompany other music offerings is indicative of a very minor and
largely supportive role for the instrument. The absence of a recital instrument in a prominent campus
gathering place ignores the time-honored place of the pipe organ in the visible
(and in this case articulate) jewels of a college or university.
Practice and Studio Instruments
The sale of practice and studio organs by Concordia
(Nebraska), Cornell University, Frostburg State (Maryland), Kent State (Ohio),
Stevens Point (Wisconsin), Syracuse, and UCLA among others, with more to come
no doubt, is the final phase in the lockstep sequence of events that marks the
diminishing fortunes of the pipe organ in academe. Step one, declining
enrollment, began with economic forces impacting the organist profession in the
1970s. Wolfgang Rübsam of Northwestern University explains:
style="mso-spacerun: yes"> "When it became generally known
that the poorly paid church organist market would no longer justify parental
tuition investment in an organ education, organ enrollment collapsed."9
This was especially true if the degree was to be financed by loans which could
never be repaid on a church organist's salary. Graduate degrees, frequently at
comparatively costly yet highly visible and quality private schools or conservatories, were likewise unattractive because the academic market had dried up.
Step two was idle instruments, and the emerging
"opportunity costs" of the space which clamored for other use.
style="mso-spacerun: yes"> Step three was to sell the instruments.
To appease penurious state legislatures, campus budget officers liquidated the
under utilized resources and converted the space to a current "hot
button" at the school, perhaps a computer lab. With budget officials breathing down their necks, the music
department meekly acceded to the cuts, hoping to save what they could in a
campus-wide scramble for funds. Step four is to not replace the organ professor
when he retires (Corliss Arnold at Michigan State and Will Headlee at Syracuse
are examples). The final step in this sad progression is the
"outsourcing" of organ instruction; i.e, to contract with a local
organist to teach the few students on a per diem basis with no benefits.
Concordia College
Concordia College in Seward, Nebraska is one of numerous
Concordia schools in the Lutheran denomination, whose traditional purpose was
to train teachers for their parochial schools. The school master or his
associates were also expected to be the parish musician, a tradition dating
back to colonial times; for example, with Gottlieb Mittelberger in the 1750s in
Pennsylvania.10 The teaching-and-parish-musician position reflected, no doubt,
the influence of Henry Melchior Muhlenberg, founder of Lutheranism in America
and an ardent champion of the pipe organ.11 Every student at Concordia was
automatically enrolled in organ lessons, which necessitated fifteen
instruments, most of them practice organs, to service a student body of 600. In
recent years, the number of students preparing for church vocations has fallen
to 40 percent of the enrollment, resulting in "excess capacity" in
pipe organ resources. The decision to sell five instruments was prompted in
part by the desire to convert one practice room into a piano studio and another
into a computer lab. This example is perhaps exceptional in view of the high
percentage of the student body using the instruments. Nevertheless, it
underscores the close relationship between enrollment and resource needs, and
how swiftly an adjustment occurs when need declines.
Kent State University
Kent State University, a public institution in northeast
Ohio, with 22,000 students, including 300 enrolled in the music department, dropped organ instruction in the spring of 1981. The number of students in the combined degree program in sacred music and applied organ performance had dropped to six, far below the number needed to justify a tenured faculty position and to continue practice room space begging for other uses. Ironically, the school had formerly counted as its organ instructors two of the most promising young keyboard artists and teachers in the country in John Ferguson, now at St. Olaf College, and Larry Smith, now at Indiana University. The enrollment collapse was the direct result of the dismal outlook for organ graduates in the marketplace. This was confirmed in an informal survey by Dr. Walter Watson, then head of the music department, which revealed that the number of full-time organ positions in the greater New York City area, had fallen from 600 in the 1950s to between 150 and 200 in the 1980s, a situation thought to prevail throughout the country.12
The absence of supporting curricula at Kent State in
philosophy and theology to augment the sacred music degree added to the
rationale for discontinuing the program. Two small practice organs were sold to
churches and some thought has been given to selling the 20-rank studio organ
and using the proceeds to update the auditorium instrument, now in need of
restoration. In recent years the financial fortunes of the school were severely
impacted by the statewide budget crunch, which forced the music department to
cancel the marching band temporarily, to remove telephones from faculty offices
and require faculty to pay for photocopying materials for their classes. A
small foundation stipend carried them over until budgets were restored but the
organ instruction situation has not changed. This may be an extreme example of
the financial indigence of music departments, but it is certainly not an
isolated one.
University of Wisconsin, Stevens Point
The University of Wisconsin at Stevens Point is a striking
illustration of the predicament of public institutions which are acutely
sensitive to enrollment shifts and budget constraints.
style="mso-spacerun: yes"> When organ enrollment collapsed and the
organist retired, the faculty position was eliminated and the decision made to
sell the four pipe organs and channel the diminishing resources elsewhere. The
plan now is to also sell the Ronald Wahl tracker instrument and use the
proceeds to rebuild the Steinway concert grand piano. Organ programs in the majority of schools in the state university system, not including the University at Madison, are reported to be severely curtailed or defunct.
Syracuse University
In view of its stellar position in postwar graduate organ
study, the experience of Syracuse University is revealing and particularly
significant. The Syracuse program
rose to prominence under the leadership of Arthur Poister, a much-admired
teacher and an eloquent spokesman for the organist profession, together with
his colleagues and successors Will Headlee and Donald Sutherland.
style="mso-spacerun: yes"> With the University of Michigan and the
Eastman School of Music, Syracuse shared the distinction of being three premier
graduate schools for organ study in the country. In the 1950s, the programs
benefited enormously from "degree inflation," as Headlee calls it,
which was then capturing the profession: the DMA supplanted the MMus as the
terminal degree in organ performance and became the "union card" for
an academic appointment.
The halcyon days at Syracuse were a manifestation of
promising academic job opportunities for organists, the attraction of the
trophy Holtkamp instruments in Crouse Auditorium and Hendricks Chapel, the
magnetism of Poister and his staff, and the all-important pipeline from Oberlin
to Syracuse where Poister had earlier taught. But Poister knew it couldn't
last. He often said to Headlee, "When will the bubble burst?"13 When
it did, in the late 1970s, the university moved swiftly to drastically curtail
the organ program. Four of the six
Holtkamp "Martini" practice organs were sold. When student credit hours plummeted to near zero, the administration elected not to replace Headlee upon his retirement and to outsource organ instruction with a part-time teacher, Katherine Pardee. She was the director of music at Hendricks Chapel whose funding is totally separate from the instructional budget of the school. The experience at Syracuse is an all-to-frequent example of how rapidly a once proud program that educated a generation of prominent teachers and performers can decline and virtually disappear.
The linkage between the initial investment and now
disinvestment decisions in pipe organs as a function of student enrollment
(demand) is an expression of the "imputation" theory of value
(zürechnung) propounded by the eminent Austrian economist Carl Menger
(1840-1921) wherein the demand (bedarf) for and value of an economic good
echoes backward into its resource base. In a market analogy, if the demand for
cigarettes falls, the demand and price for leaf tobacco declines and then the
need for and rent on tobacco growing land recedes.14
Within the music department curriculum and faculty, the
organ teacher is often odd man out.
This sad situation is attributable to more than the decline in students
and credit hours. It is primarily a reflection of what Arthur Birkby of the
University of Wyoming calls the "softening" or "dumbing
down" of the pedagogical approach to music education.15 The contemporary
emphasis upon country, gospel, jazz and rock-based music means students have
decided that it is no longer necessary to be well-grounded in classical
precepts. Thus the core curriculum in theory, counterpoint, analysis and
composition, where the pipe organ and its music would be recognized, has been cast aside.16 Given this mindset, is it any wonder the organ is viewed today as a "fuddy duddy" instrument, as Birkby laments? Rübsam adds that with organs and pianos being pushed into the corner in churches in favor of of electronic keyboards and all manner of audio-mixing devices, a career in church music is no longer attractive to the serious musician.
A Call to Action
In the foregoing analysis we have demonstrated how
style="mso-spacerun: yes"> economic and political realities in
higher education together with the indifference of campus leaders and state
legislatures, with their slide-rule mentality (and without shame), have
resulted in a tragic loss of recognition of the pipe organ's time-honored place
in academe. These examples of the liquidation of pipe organs are perhaps logical
and defensible in view of the vice-grip economics overshadowing our
institutions of higher learning today. Yet the impression lingers that the
decisions are based primarily on expediency and without proper recognition of
the place of the instrument among the "untouchables" which would
certainly be true of other campus jewels. One cannot imagine, for example, that
if enrollment in astronomy courses declined, the school would sell-off the
telescope and turn the observatory into a laboratory for genetic engineering.
The following are suggestions that can and must be
implemented to stem the tide of indifference, neglect and abandonment, and to
protect and promote the King of Instruments in institutional settings.
The first step is an awareness of the urgency of the problem
and the need to take determined action. Pipe organ aficionados--professors,
alumni, organists and concerned laymen--must be ready to "lie down in
front of the bulldozer" (so to speak) to stop the carnage. This begins
with periodic inquiries on the status of the organs on campus and expressions
of ongoing interest in their well-being. The "Friends of the Northrop
Organ" at the University of Minnesota, described by Charles Hendrickson in
an article in the March, 1996 edition of The Diapason, is a fine example of the
type of organization that should be established at every school.17
The organ professor must be visible, articulate, and
proactive in promoting the instrument.
In short, he or she must become an evangelist with fire in the belly, or
as one observer said: "The
organist has got to come out of his hole, and fight!" They must interact
more frequently with the faculty and campus at large, and use every opportunity
to make sure the organ and its music are included in applicable courses. For
example, to advance the organ as an intellectual and cultural resource to the
larger campus community the organist, in cooperation with professional
organizations, could develop a slide lecture for presentation to classes in
history (western civilization), philosophy (aesthetics), architecture,
engineering and others.
The organist should solicit a firm commitment from the
university administration to recognize and maintain the instruments on campus.
To protect the fine Holtkamp organs at Syracuse, Will Headlee orchestrated a
celebration of the Centennial of Crouse Auditorium. The Organ Historical
Society citation for "an instrument of historic merit worthy of
preservation" was read to the gathering which included the chancellor on
the platform. In responding the chancellor gave assurances that the organ was
recognized and would continue to be honored. Headlee cautions that every time
there is a changing of the guard one has to go in and sell the situation all
over again.
Yale University, under the inspired leadership of Thomas
Murray, university organist, and Nicholas Thompson-Allen and Joseph Dzeda, the
two associate organ curators, has reached out to various constituents on
campus. In a well-conceived effort to promote high visibility and awareness of the pipe organs at Yale, these men have encouraged music students, technology
classes, and other university organizations to schedule tours and
demonstrations of the instruments. Undergraduates expressing an interest in the
pipe organs and occasionally using them as a topic for a class term paper are
welcomed and given full co-operation.
During Alumni Reunion Weekend each Spring, Friday morning
and afternoon tours are conducted of the trophy Hutchings-Steere-Skinner organ
in Woolsey Hall for alumni and their families. Murray demonstrates and plays
the instrument and then the curators guide the visitors on a brief walk through
the chambers. This creates in the alumni a sense of "pride of
ownership" in the instrument and they recognize it and the other fine pipe
organs on campus as an integral part of the heart and soul of Yale University.
This effort was rewarded two years ago when an alumnus, who had joined the
group, was moved to finance the restoration of a rank of pipes which had been
taken out of the organ more than sixty years ago.
The music department should work closely with other
departments to establish maintenance funding in the budgetary process and
encourage the administration to persuade the state legislature of the
legitimacy and necessity of maintenance allocations. At the University of
Washington, the organ professor, Carole Terry, can submit a requisition for
tuning or repairs but bureaucratic guidelines have thus far ruled out a service
contract. In an effort to confront the realities of the budgetary process and
yet find a way to work within the system, Larry Schou, at the University of
South Dakota, is attempting to consign the Skinner auditorium organ to the
music instruments museum budget to promote its restoration.
Pipe organs should be given maximum coverage in campus
publicity. This includes descriptions and photos in promotional material and
catalogs, post cards for sale in the bookstore (now at University of Wyoming),
and descriptions and comments in campus tours for visitors and prospective
students. The campus radio station could be requested to play classical organ
music every week.
The instruments can be promoted to non-music students
throughout the campus, encouraging them to sign up for lessons, perhaps by
student teachers, and practice
time. This might include "open console," periods when
students, under the supervision of the faculty, can reserve time to play at
their leisure. Who knows, perhaps some engineering student who elects to relax
at the organ a couple of hours a week, will come back in twenty years, having
made a fortune in computers or genetics, and endow the whole department!
Given the realities of diminished funding, organ teachers
may well have to perform routine maintenance, primarily tuning but perhaps also
minor repairs. In their devotion to the instrument, they must do everything
possible to keep it playing. When
a pipe organ is no longer playable, it is half way out the door.
As a last resort, schools may come to rely on volunteers to
keep organs playing. This has worked successfully at the University of
Minnesota where the devoted service of Gordon Schultz is well recognized.
Professional organ technicians throw up their hands at this prospect, but it
may be the only re-course. The American Theater Organ Society has been notably
successful in harnessing the skills and energies of enthusiasts. Many of their
members play a major role in the restoration and preservation of these period
instruments.
Workers and community leaders now speak of themselves as
"stakeholders" in the fortunes of the businesses and community where
they work and live, with a vested interest that transcends the exigencies of
competition and profit. Perhaps this concept should be applied in a college
setting with professors, students and alumni viewed as stakeholders in the
cultural jewels of the campus.
In a followup article the author will explore promising
developments in the academic fortunes of the pipe organ.
style="mso-spacerun: yes"> Research for this paper has disclosed
several situations where institutional recognition is encouraging, endowments
are forthcoming and student enrollment is growing. Readers who know of such
illustrations are encouraged to reply to the author on his e-mail:
[email protected]
For research input and critical comments on earlier drafts
of this paper, the author gratefully acknowledges: Corliss Arnold, Nelson
Barden, Jack Bethards, Dean Billmeyer, Arthur Birkby, Joan DeVee Dixon, Joanne
Domb, Joseph Dzeda, John Ferguson, Laura Gayle Green, Yuko Hayashi, Will
Headlee, Herbert Huestis, Dale Jensen, the late Stephen Long, Richard
McPherson, Charles McManis, John Near, Albert Neutel, Charles Orr, Katherine
Pardee, Robert Rosen, Wolfgang Rübsam, Larry Schou, Steve Shoemaker, Albert
Smith, Larry Smith, John Chappell Stowe, Carole Terry, and Walter Watson.
Notes
1.
style='mso-tab-count:1'> Campbell-Kelly, Martin ed., Charles Babbage: Passages from the Life of a Philosopher, New Brunswick: Rutgers University Press, 1994, Introduction and Chapter V and VII.
2.
style='mso-tab-count:1'> Telephone interview with Will Headlee, July 9, 1996.
3.
style='mso-tab-count:1'> Telephone interview with Albert C. Shaw, October 1, 1996.
4.
style='mso-tab-count:1'> Proffitt, Steve, Interview with Judith Balfe, "Is Support for the Arts Literally Dying Off?", Los Angeles Times, February 23, 1996, p. M-3.
5.
style='mso-tab-count:1'> Veblen,
Thorstein, The Higher Learning in America: A Memorandum on the Conduct of Universities by Business
Men, New York:
style="mso-spacerun: yes"> B. W. Huebsch, 1918.
style="mso-spacerun: yes"> See also Joseph Dorfman, Thorstein
Veblen and His America, Seventh Edition, Clifton, N.J.: Augustus M. Kelley,
1972, pp. 234, 395-410.
6.
style='mso-tab-count:1'> Interview
with John Hose and Adolph Zajic, 1964. Another was the four-manual sixty-rank
instrument for Wilson College in Chambersburg, Pennsylvania with a stoplist
designed by Virgil Fox. The famous Whitelegg diapason chorus on the erecting
room floor in Hagerstown was purchased by Trinity Methodist Church in
Youngstown, Ohio in 1942, and later incorporated in the great division of the
four-manual eighty-nine rank instrument completed in 1947. Whitelegg died in
1944. See The Diapason, August, 1937, p. 1, June, 1943, p. 22, August, 1947, p.
1.
