Academy+of+Music

The city of Philadelphia, Pennsylvania has been known to be a place for the growth and development of musical heritage. Being centered on music, musical institutions and venues encourage and promote the exposure of Philadelphia’s vibrant musical history to showcase top performers and musicians. Philadelphia’s Academy of Music, built in the mid nineteenth century, is a reflection of the development of music and ideas of the public during that time. As modernization occurred in Philadelphia, musical development and architecture in the Academy of music can be seen as a product of these changes.   The American Academy of Music in Philadelphia, also known as the “Grand Old Lady of Locust Street” was designed as an opera house in 1857 in which the operatic scene was most dominating. In the early 19th century, colonial Pennsylvania, numerous religious sects grew exponentially. This robust growth greatly influenced the musical development by putting a musical focus on classical, operatic, and liturgical hymns which were most commonly heard in church. Liturgical music was therefore transformed into a genre of operatic music and entertainment for a more relaxed environment. This new style of music gave rise to a new venue of music and allowed for the celebration of the arts in a new opera house rather than the adoration of religion in church or the traditional choir house. This new musical environment came in the form of the American Academy of Music which was tailored and acoustically designed for operatic performances. However, after many appeals to build a new opera house in the very early 1800s, the request to build this new venue was only granted during the time of industrial growth in Philadelphia. The Academy of Music would become a proud representation of its Philadelphia’s local economic success and growth. Philadelphia’s distinct religious history is one of the main characters that play into the establishment of the Academy of Music. Lucy C. Carroll, in her article entitled “Hymns, Hymnals, Composers and Choir Schools: Philadelphia’s Historic Contributions to Catholic Liturgical Music” states that Philadelphia is known to be the birthplace of many musical organizations primarily centered on Catholic liturgical music. For years, Philadelphia was under British rule, and the British government banned the practice of religious freedom. However, after William Penn’s charter granting religious freedom, Philadelphia became the first state that was allowed to freely practice religion. Soon after, churches were quickly established and Philadelphia gave rise to numerous hymnal composers. A popular 19th century hymnal composer, Albert RoSewig, was a major liturgical song writer from Philadelphia. Like most liturgical composers of the day he was taught the musical stylistics of classical music. He composed his music primarily based on classical music rather than the main stream music which at the time consisted of a jazz like sound. RoSewig was increasing known for his huge influence on liturgical music in which he transformed the traditional languid Gregorian chants to a more operatic, dramatic, and romantic style. This in turn brought about the development of new choral choirs and put forth more emphasis on classical music. Albert RoSewig was eventually was condemned for his overly operatic liturgical sound by the church, but his influence stimulated great public interest and popularity in opera and classical style music. (Carroll, “Philadelphia’s Historic Contributions to Catholic Liturgical music**”**) Albert RoSewig musical style was a catalyst for Pope St.Pius X great American reform of liturgical music in Philadelphia. In the pope’s attempt to reestablish the use of Latin and restrict the musical style and instrumental usage in church hymnals he issued “//Tra le Sollecitudini”// his “//motu proprio”// which brought demise towards “overly operatic styles” that were emerging and becoming distinguishingly popular in liturgical song. Although Pope St.Pius X’s reform brought death to operatic style in church, he led the people of Philadelphia to turn to another venue of classical music and opera. His reform gave birth to the opera house and put an increased spotlight on operatic and classical music. (Carroll, “Philadelphia’s Historic Contributions to Catholic Liturgical music”) The people of Philadelphia yearned for a new opera house in light of the huge increase in popularity in operatic and classical music in the 19th century. The current halls and houses of the day did not give justice to the new dramatic style of music that was emerging during the time. The Musical Fund Hall was perfect for a concert room however; this hall was not a perfect fit for an opera house. The hall’s acoustics were not specifically designed for opera and choral choir. Its location was unattractive to the local patronage which consisted mostly of high class citizens who were the majority of the public that enjoyed operatic music. The Concert Hall, located on Chestnut Street was the main venue for musical entertainment, primarily because it was the only venue that was available and provided an adequate listening experience. Jayne’s Hall, also located on Chestnut Street was unsuccessful in becoming a huge musical venue because its hall lacked in proper acoustics for its listeners. These poor standards made The Academy of Music look godly. The establishment of the Academy of Music was a refuge and saving grace for the “givers of amusements” and would become one of the most historical opera houses of all time. (Sharf, 1085) Despite the localities desire for a new opera house, the Academy of Music was not established until rise of industrial grown in Philadelphia during the 1800s. According to Weigley, Philadelphia had become one of the United States' busiest ports, one the most industrialized cities and the country's largest city with 67,787 people. In spite of the Embargo Act of 1807 and the War of 1812 Philadelphia used this drawback as an advantage for industrial growth. Goods that were unavailable due the blockade of foreign trade were manufactured by the establishment of numerous factories in Philadelphia. Philadelphia became home to “paper, leather, shoe and boot industries” and became the first industrialized city with “coal and iron mines, roads, railroads and canals.” In conjunction with its industrial power Philadelphia became one of the country’s largest financial center with the growth of private banks and charters. Philadelphia huge industrial boom brought about increased cultural enlightenment through which academies schools were developed and the arts were more revered. This dramatic development in Philadelphia was one of the distinguishing factors that brought about the development of the Academy of Music. (Weigley, 218) The decision to build the Academy of Music was finally set in stone in 1855 after many failed appeals to the wealthy citizens of Philadelphia to subscribe to the stock of the company. It was then; when Philadelphia was experience economic success did the building committee acquire the appropriate amount of stock needed to erect the building. With two hundred and fifty dollars in stock the committee deemed it worthy to organize a contract to initialize the building of the academy. (Sharf, 1087)

The architectural and acoustical plan for the academy was designed by architects [|Napoleon LeBrun] and Gustavus Runge. The design was greatly influenced by Milan's Teatro della Scala, one of Europe’s great opera houses. The design consisted of an open horseshoe which offered a more wide range of visibility for the spectators on both sides of the balcony a drawback a characteristic that was lacking the traditional horseshoe Italian style opera house. (Sharf, 1087) The horse shoe design adapted from the Italian style opera houses allows for a “main auditorium volume surrounded by bands which are alternately reflective and acoustically absorbent.” The dome of the academy of music was advantageous for optical acoustical sound. The boxes within the shape are deep enough and well upholstered so that the sound entering the box from the stage will not be re-emitted. The distance from one layer of boxes to another is less than half the height of the box itself which allows a “rich reverberant sound filed to build up in the main volume.” In addition, the small spaces between the opposing balcony fronts give off a feeling of “acoustic intimacy that is clear warm and brilliant.” (Barron,313) However, out of all auditorium designs the opera house has the most design constraints. The distance at which the audience must be from the stage is limited due to sight and acoustics. For opera houses the optimal distance to allow for appropriate sound and sight is 30 meters. Acoustic perfection is not guaranteed with a large space, which is characteristic of most opera houses. The front rows of the seats are more able to experience a rich, full, luxurious sound than those in the back. In opera houses, the travel time for the sound to bounce off the ceiling and into the stalls is too long and causes reverberation. Regardless the reverberation time for Academy of Music is between 1 -2 seconds which is the acceptable range of reverberation times for opera houses. (Barron, 299) The interior design of the academy is of the Neo-Baroque style which was emerging in France. design of the auditorium is enveloped by a brick wall in which the boxes are lined with pine boards and studs. William J. Cavanaugh in his book “Architectural Acoustics” states that brick contrary to popular belief attenuates airborne sound very well. Unable to reflect sound due its nonporous nature it is a great acoustic material for all frequency sound reflectors. Cavanaugh also states that wood is the optimum material to use in opera halls by replicating the acoustical sound one hears from a wooden violin. Wood, when used in the appropriate thickness is best suited for resonation of low frequency sounds and can be used to absorb unwanted sounds and prevent echoes. This characteristic is exemplified through the Academy of music as Sharf states that, the Academy of Music is renowned for its acoustical properties in which the listener is able The dramatic lighting used in the academy was dependent upon the windows and natural lighting of the actual building since at the time electric lighting and effects were not readily available. The window frames which were shaped around the “gothic” styled arches of the academy were specifically designed to create a serene lighting in the interior of the building. (Sharf, 1087) The “Grand Old Lady of Locust Street” was the epitome of all opera houses in Philadelphia. Its acoustical characteristics and simplistic beauty surpassed the other venues of its time. The Academy of Music attracted very many popular artists and with a large seating of 3000 people it had the ability to entertain many. Sharf, states that the “seat of musical art was transformed into the Academy of Music.” The Academy of music was a product of Philadelphia’s rich history from conception through religious reform to birth through industrial growth.   Works Cited Barron, Michael. __Auditorium Acoustics and Architectural Design.__ New York. E & FN Spon. 1993. Carroll, Lucy. __Hymns, Hymnals, Composers and Choir Schools: Philadelphia’s Historic Contributions to Catholic Liturgical Music__. California. New Oxford Review. 1998 Cavanaugh, William. __Architectural Acoustics.__ New York. John Wiley & Sons. 1999. Sharf, Thomas. __History of Philadelphia1609-1884.__ Michigan. L. H. Everts & Co. Weigley R.F. __Philadelphia: A 300-Year History.__ New York. W. W. Norton & Company.1982.

