2009
DOI: 10.1121/1.3205398
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A comparative analysis of acoustic energy models for churches

Abstract: Different models to improve prediction of energy-based acoustic parameters in churches have been proposed by different researchers [E. Cirillo and F. Martellotta, J. Acoust. Soc. Am. 118, 232-248 (2005); T. Zamarreño et al., J. Acoust. Soc. Am. 121, 234-250 (2006)]. They all suggested variations to the "revised" theory proposed by Barron and Lee [J. Acoust. Soc. Am. 84, 618-628 (1988)], starting from experimental observations. The present paper compares these models and attempts to generalize their use taking … Show more

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Cited by 37 publications
(37 citation statements)
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References 9 publications
(26 reference statements)
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“…Thus, they proposed a model based on the following assumptions: the direct sound is followed by linear level decay at a rate corresponding to the reverberation time; the instantaneous level of the late decaying sound is uniform throughout the space; the time t 0 corresponds to the time the signal is emitted from the source, therefore the direct sound reaches a point at a distance r from the source after a time t D = r/c. In this way the integrated energy decreases when the source-receiver distance increases, while the early/late reflected energy ratio remains constant; the integrated value for the reflected sound level is assumed to be, at r = 0, equal to the value predicted by the classic theory (Berardi et al, 2009). According to the Barron and Lee's revised theory of sound decay, the sound energy may be calculated as G = 10 log 10 (100/r 2 + 31200 · T /V · e (−0.04·r/T ) ).…”
Section: Interpreting the Reverberation Radius Within The "Revised" Tmentioning
confidence: 99%
See 1 more Smart Citation
“…Thus, they proposed a model based on the following assumptions: the direct sound is followed by linear level decay at a rate corresponding to the reverberation time; the instantaneous level of the late decaying sound is uniform throughout the space; the time t 0 corresponds to the time the signal is emitted from the source, therefore the direct sound reaches a point at a distance r from the source after a time t D = r/c. In this way the integrated energy decreases when the source-receiver distance increases, while the early/late reflected energy ratio remains constant; the integrated value for the reflected sound level is assumed to be, at r = 0, equal to the value predicted by the classic theory (Berardi et al, 2009). According to the Barron and Lee's revised theory of sound decay, the sound energy may be calculated as G = 10 log 10 (100/r 2 + 31200 · T /V · e (−0.04·r/T ) ).…”
Section: Interpreting the Reverberation Radius Within The "Revised" Tmentioning
confidence: 99%
“…Although applying the revised theory to concert halls markedly improves the prediction accuracy compared to classic theory, the revised theory still has some limitations (Vorländer, 1995;Berardi et al, 2009). In particular, there has been significant discussion in the last years about the appropriate starting time t 0 for the integration of the reverberant field.…”
Section: Interpreting the Reverberation Radius Within The "Revised" Tmentioning
confidence: 99%
“…Reverberation time plays a significant role in the design of school rooms [1], sacral rooms [2][3][4], auditoriums [5], theaters and concert halls [6], open-plan spaces [7], or others. This parameter has been investigated in many different works, a few of them mentioned below in the last years [8][9][10].…”
Section: Introductionmentioning
confidence: 99%
“…The values of C 50 above −6 dB were considered optimal for the clarity. The previous value, which may seem low for architectural acoustics, is common in many churches (Kosala, Engel, 2005;Cirillo, Martellotta, 2006) and is partially related to the high reverberation and late reflections in churches (Berardi et al, 2009a).…”
Section: The Single Music Indexmentioning
confidence: 99%
“…However, in this paper, the attention is focused on worship spaces. In fact, an increasing number of studies have been focused on the acoustics of churches, whose peculiarities are different from those of concert halls and theatres (Berardi et al, 2009a). Large surveys have contributed to create a consistent body of knowledge about the acoustics of churches in Portugal (Carvalho, 1994), Spain (Sendra et al, 1999), Poland (Kosala, Engel, 2005), Italy (Cirillo, Martellotta, 2006), and Japan (Soeta et al, 2012).…”
Section: Introductionmentioning
confidence: 99%