AUTHENTICITY OF SPACE: AN INTERDISCIPLINARY CONVERGENCE OF THE TRADITION OF SACRED MUSIC AND TWENTY-FIRST CENTURY SACRED ARCHITECTURE by Daniel Copher A Dissertation Submitted to the Faculty of The Dorothy F. Schmidt College of Arts and Letters in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Florida Atlantic University Boca Raton, Florida December 2012 Copyright by Daniel Copher 2012 ii ACKNOWLEDGMENTS This study could not have succeeded without the tremendous support I received here in the U.S. and in research travels around the world. I would particularly like to thank the following for their contribution to this project: Carol Gould, Heather Coltman, Gvozden Kopani, Diana Akers, Marjory D. Lyons, Leland Owens, Craig Denison, Robert Strusinski, Tom Koberstein, Ron Michel, Cynthia Zaitz, Stefan Harsch, Ralph Berlovitz, Aaron Brown and musicians and architects who have provided inspiration throughout my professional career. iv ABSTRACT Author: Daniel Copher Title: Authenticity of Space: An Interdisciplinary Convergence of the Tradition of Sacred Music and Twenty-First Century Sacred Architecture Institution: Florida Atlantic University Dissertation Advisor: Dr. Carol S. Gould Degree: Doctor of Philosophy Year: 2012 The twenty-first century has already seen some aesthetically exciting sacred architectural spaces. Much liturgical music, however, is centuries old. With regard to performing old music, philosophers, such as Steven Davies, Jerrold Levinson, Noel Carroll, and Peter Kivy, have debated the aesthetic merits of striving for authenticity of performance. I agree with Davies’ view that authenticity is important and possible. If authenticity is a valid performance aesthetic principle, as I contend it is, the following paradox arises: Some contemporary sacred spaces are the sites of moving, aesthetically valid performances of sacred music. But how is it possible to have aesthetically valid authentic performances of sacred music in twenty-first century sacred spaces? If so, what aesthetic criteria would these spaces have to satisfy? In this dissertation, I propose a solution to this paradox and argue that authenticity in sacred music from various periods can be achieved. The question of authenticity in this unique v musical genre focuses on performance space, liturgical function, musical instruments, performer/listener interaction, and cultural conditions. My focus here, however, will be the criteria necessary for creating authentic architectural settings for sacred music. The debate relies on philosophical, practical, and artistic views that explore the question of the aesthetic value of authenticity of performance practices. Using architectural examples constructed in the twenty-first century, this thesis will propose a set of aesthetic criteria for achieving an authentic setting for sacred music from all periods. It will develop philosophical and pragmatic performance space criteria desirable to sustain the tradition of sacred music. Thus, I shall dissolve the paradox surrounding the possibility of authentic musical performance in contemporary architectural sacred spaces. In doing so, I shall contribute to a lively philosophical debate in aesthetics by drawing on my understanding of music and architecture. vi DEDICATION This manuscript is dedicated to church musicians who work tirelessly to preserve the tradition of sacred music, architects who design spaces that support this art, particularly to Robert Strusinski with whom I shared performances of traditional sacred music in authentic sacred spaces throughout the world. This research would not have been possible without the scholarly guidance and writing discipline of Dr. Carol Gould. Gratitude is extended to Leland Owens for his patience, support and encouragement throughout this process. AUTHENTICITY OF SPACE: AN INTERDISCIPLINARY CONVERGENCE OF THE TRADITION OF SACRED MUSIC AND TWENTY-FIRST CENTURY SACRED ARCHITECTURE LIST OF FIGURES ......................................................................................................... ix LIST OF TABLES ........................................................................................................ xxii I. Topic and Research Problem ......................................................................................... 1 Delimitations ......................................................................................................... 2 Scholarly Contribution of This Study ................................................................... 3 Inspiration ............................................................................................................. 6 Methodology: Criteria for Analysis ...................................................................... 9 II. Context of Authenticity in Sacred Music ................................................................... 11 Authentic Performance Practices: Historical Context ........................................ 11 III. Context of Sacred ...................................................................................................... 22 Concept of Sacred ............................................................................................... 22 Natural Aesthetic of Sacred Space ...................................................................... 35 IV. Historical Context: Sacred Architecture and Sacred Music ..................................... 50 Sacred Music and the Pipe Organ: Historical Overview .................................... 72 Historical Context: Twentieth-Century Sacred Architecture .............................. 88 vii V. Finding the Sacred in Twenty-First Century Architecture ....................................... 125 Form .................................................................................................................. 127 Scale .................................................................................................................. 162 Light .................................................................................................................. 176 Craftsmanship ................................................................................................... 190 Acoustic ............................................................................................................ 203 Conclusion ........................................................................................................ 213 APPENDICES A Marc Chagall Windows ................................................................................ 223 B Additional Projects ........................................................................................ 227 BIBLIOGRAPHY ......................................................................................................... 244 viii LIST OF FIGURES Figure 1.1 Dio Padre Misericordioso (Jubilee Church) (2000) ..................................... 7 Rome, Italy, Richard Meier, Architect Exterior View Photograph – Maarten Scheurwater http://mimoa.eu/projects/Italy/Rome/Jubilee%20Church. Figure 1.2 Dio Padre Misericordioso (Jubilee Church) (2000) ..................................... 8 Rome, Italy, Richard Meier, Architect View of altar and baptismal font Image courtesy of Ron Michel Figure 3.1 Vitruvian Man ............................................................................................. 39 Leonardo da Vinci http://leonardodavinci.stanford.edu/submissions/clabaugh/history/ leonardo.html Figure 3.2 Mount Kailash ............................................................................................. 43 Tibet, China http://sacredsites.com/asia/tibet/mt_kailash.html. Figure 4.1 Pantheon, Rome, Italy (125 CE) .................................................................. 52 Pantheon (Church of St. Mary and the Martyrs) http://www.mmdtkw.org/RT04-Pantheon.html. Figure 4.2 Palatine Chapel, The Royal Church of Saint Mary (789-805 CE) .............. 56 Aachen, Germany, Odo of Metz, Architect http://addovereor.com/2011/01/carolingian-period-780-to-936/. Figure 4.3 Basilica di San Marco (Saint Mark’s Basilica) (1063-1094) ...................... 57 Venice, Italy, Architect Unknown http://www.bbc.co.uk/radio4/makingofmusic/galleries/1572/9/. Figure 4.4 Cathédrale Notre Dame de Paris ............................................................... 58 (Notre Dame Cathedral) (1163-1862) Paris, France, Architect Unknown ix Figure 4.5 Basilica Sancti Petri (Basilica of Saint Peter) (1546) ................................. 60 Vatican City, Rome, Italy, Giacomo della Porta, Architect Dome, Michelangelo di Lodovico Buonarroti Simoni (1588) Piazza, Gian Lorenzo Bernini (1656) http://theromeexperienceblog.wordpress.com/tag/st-peters-basilica/. Figure 4.6 Kloster Weltenburg (Weltenburg Abbey), (1716-1735) ............................. 62 Weltenburg, BY, Germany, Architect Unknown http://members.virtualtourist.com/m/8bac/20e7/ Figure 4.7 Flushing Meetinghouse, (1694) ................................................................... 65 Flushing, New York, John Bowne, Builder (accessed April 11, 2012) http://newlunfamily.blogspot.com/2011/06/newland-william-ii-1615- 1695.html Figure 4.8 Christ Church (Old North), (1723) .............................................................. 66 Boston, Massachusetts, William Price, Architect http://teachhistory.com/chirst-church-boston. Figure 4.9 Saint John the Divine, New York, New York ............................................. 68 Heins and LaFarge, Architects (construction