The synagogue is generally understood to be the central religious and social gathering place of a Jewish community. The design of the space and the associated possibilities for experiencing religious practice vary according to the historical, cultural, and geographical context of the synagogue, as well as the gendered and hierarchical dynamics within the community. Consequently, the architecture of the synagogue reflects the orientation and religious identification of the respective community. Research on synagogue architecture has so far primarily focused on stylistic or general visual characteristics, often neglecting liturgical aspects or the urban context of the building. The premise of this project is that synagogues as spaces are shaped by their acoustic experience, making sound a fundamental element that defines these religious spaces. Sound is therefore a central, albeit understudied, aspect of synagogue architecture.
This project addresses this scholarly gap by focusing on the adaptation of the synagogue as religious architecture to accommodate the liturgical and musical innovations of Reform Judaism in the 19th and early-20th centuries, including the introduction of preaching, as well as choir and organ during services. Both the religious and architectural discourses that accompanied this process are analyzed. Similarly, the framework of religious experience is used to explore what participation in the synagogue’s soundscape was made possible by the space itself, particularly with regard to the acoustic presence of women and children. Finally, the acoustic and auditory environments of synagogues are compared to those of Christian religious spaces, as well as secular performance spaces such as theaters and opera houses. Thus, synagogues are embedded in the broader context of sound architectural history.
- Fani Gargova
