Essa dissertação apresenta um estudo analítico sobre a obra do arquiteto Louis I. Kahn, desde o ponto de vista da sua qualidade espacial, compreendida esta no modo como ocorre a interação entre espaço e usuário. Foram selecionados três edifícios como estudos de caso capazes de representar a síntese evolutiva da concepção de espaço ao longo da obra de Kahn, os quais foram submetidos a uma análise empírica baseada na experiência espacial do observador em movimento, lançando mão de um conjunto de ferramentas no assim denominado método do observador. Os edifícios estudados viabilizam o desenvolvimento de análises que abrangem desde as primeiras obras de Kahn, na década de 1930, até o seu falecimento, em 1974. A análise realizada registra o desempenho dos edifícios em termos de sua legibilidade e funcionalidade, compreendidas como qualidades inerentes ao espaço e ao modo como este condiciona a experiência do usuário, relacionandoas à concepção espacial do edifício. Procura-se ampliar a compreensão dos resultados obtidos à luz da evolução da obra teórica do autor, traçando relações de causa e efeito entre esta e os fenômenos registrados na realidade concreta dos edifícios. O trabalho busca ainda ampliar a compreensão da relação da obra de Kahn com o contexto da produção arquitetônica de sua época, investigando as influências que recebe e as contribuições que oferece, especialmente no que tange à continuidade da arquitetura moderna. / The present dissertation is as an analytical study about the work of architect Louis I. Kahn, focusing on its spatial quality, as funded in the interaction between space and people in motion. Three buildings were selected as case studies in order to capture the evolutionary synthesis of space conception happened during Kahn’s career. Each building was submitted to an empirical scrutiny based upon the spatial experience of a moving observer, using a set of tools named as the “method of the observer”. The buildings investigated are put in relation with other Kahn’s buildings, so allowing the development of an analytical discourse embracing since his first works, in the 1930’s, until his death, in 1974. The analysis registers the performance of the buildings in terms of their legibility and their functionality, both understood as qualities inherent to space and the way they shape the user’s experience, so relating them to the building’s spatial conception. The dissertation intends to enlarge the understanding of the findings by considering the evolution of Kahn’s theoretical work, so bringing cause-effect connections between theory and the registered phenomena in the concrete reality of buildings. Eventually, this study aims to enlarge the understanding of the link between Kahn’s work and the architectural environment of the time, so exploring the influences he received and contributions he gave, especially concerning the evolution of modern architecture.

Essa dissertação apresenta um estudo analítico sobre a obra do arquiteto Louis I. Kahn, desde o ponto de vista da sua qualidade espacial, compreendida esta no modo como ocorre a interação entre espaço e usuário. Foram selecionados três edifícios como estudos de caso capazes de representar a síntese evolutiva da concepção de espaço ao longo da obra de Kahn, os quais foram submetidos a uma análise empírica baseada na experiência espacial do observador em movimento, lançando mão de um conjunto de ferramentas no assim denominado método do observador. Os edifícios estudados viabilizam o desenvolvimento de análises que abrangem desde as primeiras obras de Kahn, na década de 1930, até o seu falecimento, em 1974. A análise realizada registra o desempenho dos edifícios em termos de sua legibilidade e funcionalidade, compreendidas como qualidades inerentes ao espaço e ao modo como este condiciona a experiência do usuário, relacionandoas à concepção espacial do edifício. Procura-se ampliar a compreensão dos resultados obtidos à luz da evolução da obra teórica do autor, traçando relações de causa e efeito entre esta e os fenômenos registrados na realidade concreta dos edifícios. O trabalho busca ainda ampliar a compreensão da relação da obra de Kahn com o contexto da produção arquitetônica de sua época, investigando as influências que recebe e as contribuições que oferece, especialmente no que tange à continuidade da arquitetura moderna. / The present dissertation is as an analytical study about the work of architect Louis I. Kahn, focusing on its spatial quality, as funded in the interaction between space and people in motion. Three buildings were selected as case studies in order to capture the evolutionary synthesis of space conception happened during Kahn’s career. Each building was submitted to an empirical scrutiny based upon the spatial experience of a moving observer, using a set of tools named as the “method of the observer”. The buildings investigated are put in relation with other Kahn’s buildings, so allowing the development of an analytical discourse embracing since his first works, in the 1930’s, until his death, in 1974. The analysis registers the performance of the buildings in terms of their legibility and their functionality, both understood as qualities inherent to space and the way they shape the user’s experience, so relating them to the building’s spatial conception. The dissertation intends to enlarge the understanding of the findings by considering the evolution of Kahn’s theoretical work, so bringing cause-effect connections between theory and the registered phenomena in the concrete reality of buildings. Eventually, this study aims to enlarge the understanding of the link between Kahn’s work and the architectural environment of the time, so exploring the influences he received and contributions he gave, especially concerning the evolution of modern architecture.

This study examines two of the smaller American choral societies that together existed for just over 30 years, 1888 to 1919: The Gounod and New Haven Oratorio Societies of New Haven, Connecticut. These societies are important because, especially in the case of the New Haven Society, they were closely related to Yale University and the work of Horatio Parker. One must assume from the onset that the two choral groups examined in the following pages did not have the prominence of the many larger New England choral societies. However a more detailed knowledge about the struggles, successes, influence and leadership of two smaller societies illuminates a field of research in the history of American choral music that has been largely ignored.

In this dissertation, I examine extracurricular music of American universities between the two World Wars and consider it as an indicator of the idealization of collegiate life. Interwar discourse at American universities demonstrated the two contrasting ideals of the older collegiate model and the more recent university model. The collegiate model was associated with ideals related to character building, a sense of community, and a common curriculum, whereas the university model was associated with social utility, research, and liberal culture. Proponents of the collegiate model idealized an older collegiate life in America. One version of this idealized collegiate life captured the popular imagination of Americans in the late nineteenth century – the vision of students developing their social skills in the extracurriculum at the expense of their intellect in the official curriculum. Various members of the university community at Stanford University, The University of Texas, and Yale University promoted this idyllic view of collegiate life in the extracurriculum. Marching bands, glee clubs, and bell instruments were thought to transmit collegiate values of community and character building. The music’s adaptation to modern trends and values, however, reveal that it did not fully adhere to an idealized image of pre-modern college life. The university communities believed that music (and sound in general) with its ability to reach listeners’ memories and emotions, was unique in its access to interior subjectivity. This belief guided university administrators to use campus sounds to instill school spirit and nostalgia. Yet the failure of certain audio memorabilia, namely the Talking Page of the Onondagan yearbook of Syracuse University and The Cactus in Sound of The University of Texas, leads us to question this assumption of special interior access. Administrators, students, and alumni all had a hand in using sounds to elicit these strong sentiments toward their university, which administrators hoped would foster increased financial support / text