Concert Hall Acoustics and the Sounding Heritage of the Interwar Period in America: The Coolidge Auditorium (Library of Congress, Washington, DC, 1925)

Starting in 1895 with the work of Wallace Clement Sabine (1868–1919), the science of architectural acoustics was born. Sabine's work on the materialization of sound influenced countless architects and physicists alike, including the famous New York City–based architect Charles A. Platt (1861–1933) and MIT physics instructor Clifford Melville Swan (1877–1951), a former student of Sabine. Both Platt and Swan collaborated on the design of the Coolidge Auditorium, housed in the Thomas Jefferson Building of the Library of Congress in Washington, DC. Built in 1925, the five-hundred-plus seat chamber hall highlights the idealized listening environment of the interwar period in America, which was still reeling from the noise-filled horrors of World War I as it embarked on a progressive agenda to build the modern urban metropolis. In spite of the increased popularity at the time for large purpose-built halls to house films, big band jazz performances, and grand spectacle entertainment, the Coolidge Auditorium presented a small, intimate space with an explicit desire to reform music in America. In this article I explore this early twentieth-century listening environment and conclude by comparing the Coolidge Auditorium to the concert hall of today, which I argue is directly connected to the built environment of the early twentieth century, with its growing fascination with radio transmission and electronically reproduced music.