Thinking about Michelle's larger question regarding the why; the reason certain schools have good reputations, and what makes them stand out, there are a number of factors involved. Here are a few:
(In the interest of spurring a discussion)1. Reputation and quality of instructor(s) availableIn any performance-oriented music program, it really is all about the instructor. Their musicianship, their background experiences, personality, charisma, not to mention their teaching ability. Talented, passionate, enthusiastic, capable musicians always attract both students and donors.
One aspect that many students overlook when choosing a school is availability of their instructor, i.e. full-time faculty vs. part-time adjuncts that breeze in and out. It may be great that a school has organists like Fred Swann, Stefan Engels, Oliver Latry, Daniel Roth, etc. on their faculty, but they are likely fitting their students in around a thousand other engagements. In contrast, full-time faculty that are consistently in residence at an institution have vastly more time to invest with their students, and play the mentorship role that is so important in developing students as musicians and professionals.
2. Number, quality and styles of organs available for practice and performance.
Each of the above factors are important. A school's concert-quality organs are important as the instruments on which students will have their most formative performance experiences, make recordings, and build their reputations.
But these instruments alone are not enough; all too often a school's recital instrument is in a shared performance space, so organists have to fight for time to practice, in competition with the many other demands of a busy music school. It doesn't mean much to an organist to have a top-rate recital instrument if they are rarely allowed any time on it.
Consequently, it is important for there to be other quality instruments readily available for students to use, in sufficient numbers to meet student demand. Any former organist/music major knows what a pain it is to constantly have to search for places to practice.
But even further, a variety of styles is also important, both for performance and practice instruments, if only for pedagogical reasons. At one institution I attended, nearly all of the instruments available were neo-baroque instruments made by the same maker. Worse, none of them had swell chests. During my time there, I learned a lot about how to skillfully register those instruments, but I missed many opportunities to learn techniques incredibly important for romantic music.
(Incidentally, this is certainly a potential market for Hauptwerk. Hauptwerk systems are an exceptionally economical way growing organ programs can meet this need, providing practice workstations that offer a variety of instruments on which students can explore different styles, registrations, etc.) 3. Quality and reputation of overall music program and university in generalThis is the bigger picture; the depth and breadth of instruction available to the student in other areas of music, and in other subjects entirely. Music history, theory, musicology, music business, and technology are all areas which are crucial to the development of the organist as a whole musician. Furthermore, study of other subjects are important to the development of a musician as a whole person. In my own case, public policy classes I took at Johns Hopkins proved to be as important to my life and career as were any of my music courses.
4. Proximity of institution to opportunities for students to attend performances, sub, gig, and network within the larger organist communityThis is where students gain the kind of real-life experience that will serve as the foundation for their professional careers. This aspect also provides students with perspective; where they are in the larger scheme of things vs. where they could/should/need to be. Learning the size of fish you currently are in relation to your pond is a necessary, challenging and motivational experience. In this context, big city schools have a real advantage, and particularly East coast schools that allow relatively easy travel between large metropolitan areas.
5. National traditionsThe history and culture of each country plays a huge role in how its musicians are perceived around the world, not only in terms of the general level of playing, but also the style of that playing. For instance, Germany, France and England place a high value on improvisation and overall musicianship. This is because it is important that they train organists skills that will be of practical use in their careers as practicing church musicians.
Other nations put a higher value on technique, as evidenced in performance of difficult repertoire. There is less emphasis on requirements of church services, because there is often less of a cultural emphasis on worship services in general. In these places concert performances are more often the goal, and the instruction is structured to that end.
In the US, there is a mix of approaches, depending on the tradition of the school and the priorities of the instructor. And all of this is constantly changing, at both the institutional and cultural level.
If all of this discussion is concerning where there might be a target market for Hauptwerk, it should be said that traditionally, organ faculty tend to be pipe snobs who look down their nose at any electronic instrument, no matter how innovative it may be. That is definitely true here in Germany, partly due to its long and rich history of organ building. Nearly every church, from tiny rural parish chapels to huge cathedrals, has an actual pipe organ. But even in Germany, there is a bright side--because there are a lot of organs and a lot of organists, there is consequently a larger pool of people who would be interested in the product.
I welcome discussion on these topics!
- Matthew