Abigail Hebert

If you walk into Gibson Hall, you’ll most likely be greeted by the faint sounds of music from above or below you. Cozy and cramped, Gibson is home to Bowdoin’s music department. Throughout its existence, both musicians and music aficionados have found a sense of community within the building’s brick walls.

At the end of Kenneth C.M. Sills’ presidency, the music hall was dedicated in 1954 to Harvey Dow Gibson, Class of 1902. Gibson was the Red Cross Commissioner to Western Europe during both World Wars and helped make the Red Cross what it is today. Gibson received the Medal of Merit from General Dwight D. Eisenhower, the highest award the federal government can bestow upon a civilian. While a student at the College, Gibson was an active member of musical clubs and known for his mandola solos. Gibson was also a successful banker, and at 34 was one of the youngest Wall Street bank presidents of his time. When he passed away, he was president of the Manufacturers Trust Company, which established a posthumous memorial fund in his name.

The development and building of Gibson Hall took two years under the architect Lawrence Grant White, with Gibson’s widow, Helen Cole Gibson, heavily involved in the building’s planning.

Notably, Cole Gibson recommended the wood paneling from the Hôtel de Sans, Faubourg Saint Germain, Paris, as material for the walls of the Gibson Salon lounge at the center of the building. This woodwork dates from the 1730s and went through the French Revolution unscathed after being taken out of the Hôtel de Sans by the General Staff of the War Ministry in 1765.

Significantly, the construction of Gibson Hall provided a designated practice space to allow choral music to flourish on campus.

“In 1962, the music department consisted of one man, Robert Beckwith, who conducted a men’s choir and the Meddiebempsters,” Classical Piano and Harpsichord Instructor Naydene Bowder explained.

According to Professor of Music Vineet Shende, before the creation of Gibson Hall, the College was called a “singing college,” as the music scene consisted mostly of various glee clubs, which were associated with the Greek life that permeated campus culture.

“All of the fraternities at that time had their own singing groups associated with them,” Shende said.

With Gibson Hall’s creation, the musical environment on campus expanded into the instrumental scene. With time, the music department has grown significantly, but Gibson Hall has limited facilities.

“In a lot of ways, this is still a building that was designed not only for when we were a singing college but also a 20th-century college,” Shende said.

The department cannot offer as many music lessons as demanded, simply due to a lack of space.

“We have 80 more students who would like to take music lessons every semester than we can give,” Shende said. “We don’t have enough practice rooms to allow them to actually have lessons. All of those spaces are maxed out.”

Moreover, as student interest increases, the music department has grown its staff. Second-floor office spaces have been shrunken as many one-room offices have been divided into two offices.

While the construction of Studzinski Hall gave the music department more space, Gibson is still the department’s home, and issues persist. The building lacks air conditioning, which can be dangerous for temperature-sensitive instruments stored inside. Dehumidifiers constantly run in the basement to protect instruments from water damage.

Senior Lecturer in Music Frank Mauceri pointed out that the building still needs much work.

“This is one of the worst buildings on campus for accessibility. If a student has a mobility challenge, we have to locate somewhere else on campus, outside in Gibson. If someone has a mobility challenge mid-semester, if someone breaks their leg, we’ve got to move everything,” Mauceri said. “It’s true for faculty too, because we’ve had faculty who have had injuries or mobility issues, and they can’t even get into their offices.”

Due to the lack of an elevator, instruments—including grand pianos—must be carried up and down the stairs as needed.

Perhaps all the inconveniences of Gibson contribute to the sense of community within the building, though. Library assistant Linguo Ren ’25 reflected on his positive experience in an email to the Orient.

“It’s a hidden gem—not a lot of people even know we have a music library, but for those who do, they’re here all the time. It’s a tight-knit community and a dedicated study hub,” Ren wrote. “I often knew who would be there and where they’d be sitting before I even started my shift.”