The present paper examines the historical evolution of the concert halls acoustic parameters, in the international field. From the beginnings of twentieth century, the acoustic parameters have had a continuous evolution, covering more and more aspects of the concert hall acoustics qualification. Since the bibliography about these is fragmented, we performed in this article, a global and updated presentation on the chronology and the evolution of the studied parameters. Considering the great variety of the same, we presents the appearance of each parameter, located in decades, who has proposed them and, where is possible, indicates articles or publications where they have been presented for the first time. Thus, the historical presentation of the majority of the acoustic parameters of concert halls, it optimizes and can be useful for future research as a central platform in a bibliographical study. The presentation of the same is also grouped according to quality criteria.
The acoustics of the ancient Greek and Roman theatres has always been rated as excellent by experts, without discussion. Beyond the purely architectural aspects, in this kind of outdoor theatres some mechanisms were used in order to improve the acoustics. In this paper we have studied the texts about "theatre's vases" of the famous book "On Architecture" by Vitruvius. Different interpretations and illustrations of these vases, that several translators carried out in the sixteenth to the eighteenth centuries, have been researched. From the wide bibliography consulted in this regard we have developed a plane with the disposition of the bronze vases in the theatres. In this plane we have specified the frequency of each one of them, and explained their disposition from the tetracordal musical system acquired from the Greek culture. Finally, an analysis of the disposition of the vases has been made. We have studied and looked for the musical intervals and harmonic relations among adjacent vases.
This paper describes the research job carried out at Polytechnic University of Valencia-Spain-about resonant cavities placed under the orchestra pits of Italian Opera Houses, and others acoustics mechanisms like this one. The Teatro Principal of Valencia was built following the Project developed by the Italian architect Felipe Fontana in 1774 and it opened its doors in 1832. Fifteen years ago, in the last architectonic intervention in this theatre, almost a hundred of acoustic vases were found in one of those resonant cavities. What acoustics role they accomplish? How they "functioned"? This was the starting point to study this kind of artifices, throughout the eighteenth century European treatises about theatres and in our Teatro Principal.
The usual parameters in room acoustics are used to quantify the acoustic characteristics of rooms and their relation to the subjective perception of transmitted signals. Audio features (calculated with MIRToolbox) have been designed to study the relationships between the characteristics of musical audio files and their subjective perception. Both musical characteristics and acoustic parameters are oriented towards acoustic perception. By using auralizations with calibrated models of auditoriums and tools from the MIRtoolbox it is possible to jointly work with the calculation of audio features and room parameters. In this work, the statistical correlations between C80, STI, D50, EDT, RT and certain audio features have been analyzed. The Pearson r values are higher than 0.8 in all cases. These high correlations enable acoustic parameters to be calculated from the musical characteristics of auralized audio signals.
This study presents a methodology for the acoustic analysis, from a comprehensive study of a multifunctional hall, of the Polytechnic University of Valencia, as a pilot hall in a Spanish Coordinated Project. The acoustic parameters studied were those who the most acoustics experts consider of interest. In the objective measures were use the equipment and methods conforming to ISO 3382. The questionnaire used to analyze the subjective response has been patented in Spain, by the research group that developed the project. The correlation between objective and subjective results, along with the accurate simulation of the hall provides a valid tool for design, restoration and improvements the enclosures where the sound quality is preferred.
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