Acoustic characterization of on-stage performers in performing spaces

Jang, Hyung Suk; Jeon, Jin Yong

doi:10.1016/j.apacoust.2016.07.019

Cited by 10 publications

(3 citation statements)

References 17 publications

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“…17,22 One exception is the TH at which the T 20 increased. Possibly, placing the mannequins in the more reverberant side stage (behind the stage curtains) for storage had a larger effect on the average T 20 of these coupled spaces.…”

Section: Late Soundmentioning

confidence: 99%

How orchestra members influence stage acoustic parameters on five different concert hall stages and orchestra pits

Wenmaekers

Hak

Hornikx

2016

The Journal of the Acoustical Society of America

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Stage acoustic parameters aim to quantify the amount of sound energy reflected by the stage and hall boundaries and the energy decay over time. In this research, the effect of orchestra presence on parameter values is investigated. The orchestra is simulated by dressed mannequins, which have been compared with humans with respect to acoustic properties. Impulse response measurements were performed in a concert hall, a theatre, a rehearsal room, and in two orchestra pits. Conditions were empty stage floors, stage floors with music stands and chairs only, and floors occupied by the mannequin orchestra. Results show that the direct and reflected sound levels and the energy decay are significantly affected by the orchestra compared to an empty stage or a stage with chairs and stands only. Both the direct sound and early reflected sound levels are reduced by the orchestra with the distance. The late reflected sound level is reduced considerably more than can be expected based on Barron's revised theory. It can be concluded that measurements on a stage without the orchestra being present results in significant differences. A practical method is presented to perform a "musician friendly" stage acoustic measurement with a real orchestra.

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Section: Late Soundmentioning

confidence: 99%

How orchestra members influence stage acoustic parameters on five different concert hall stages and orchestra pits

Wenmaekers

Hak

Hornikx

2016

The Journal of the Acoustical Society of America

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“…Unlike other studies, Platz used meta-analysis to study the audio-visual relationship, and it turned out that visual component was an important factor in the communication of meaning [13]. In recent years, the specific features of sound sources in the concert halls were studied, including loudness [14] , dynamic of the orchestra [15,16] and stage acoustics [17,18].…”

Section: Applied Acoustics Volume 168 2020mentioning

confidence: 99%

Grounded theory-based subjective evaluation of traditional Chinese performance buildings

Zhu

Kang

et al. 2020

Applied Acoustics

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Traditional Chinese performance buildings and performing arts are different from those in the west.However, sound quality evaluation factors for western halls have been used in traditional Chinese performance buildings for a long time. In this study, grounded theory was used to establish a sound quality evaluation system for traditional Chinese performance buildings. The subjective evaluation system for a traditional Chinese performance building was divided into the following six aspects: loudness dominant (loudness, definition, loudness balance, stage support (overall), and spaciousness); frequency dominant (brightness and fullness); reflected sound dominant (crispness, richness, harshness, and fusion); direction dominant (envelopment and directivity); quietness; and cultural cognition. The evaluation dimensions of western and traditional Chinese performance buildings were compared. In the Chinese evaluation system, the preference for loudness and brightness was higher than that in the western system. Moreover, crispness, harshness, and cultural cognition were not common in the western evaluation system, whereas envelopment and directivity were rarely mentioned in traditional Chinese evaluation system. Finally, the reasons for the differences between the two evaluation systems were analysed according to the architectural form, performance content, and culture. Envelopment, directivity, and quietness were found to be related to the differences in the architectural form and structure. The preference for brightness, crispness, and definition may be related to the form of performance. The 'competitiveness' and 'renao' (jollification) in traditional Chinese opera performances, as well as aesthetic pursuits had significant effects on the cultural differences.

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“…The location of the sound source was fixed 3 m away from the stage end at the height of 1.5 m. Twenty-seven sound receiving points were used, which were positioned 1.2 m above the ground. In previous studies [7,13,35], the acoustics in the auditorium were changed according to the layout and positions of musicians on the stage. However, in the present study, the location of the sound source was fixed to examine the actual effects of the stage volume ratio on the audience acoustics, while excluding the effects of the musicians.…”

Section: Stage Design Elementsmentioning

confidence: 99%

Effect of Stage Volume Ratio on Audience Acoustics in Concert Halls

Jeon

Seo

2020

Sustainability

Self Cite

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This report proposes the stage volume ratio (Vo/V) as an acoustic design factor for concert halls and presents an investigation of the dependence of the acoustic parameters of an auditorium on the stage volume through computer simulation. Firstly, the ratio of the stage volume to the total volume of a concert hall was defined as Vo/V through case studies of existing concert halls. It was verified using a simple model that the stage acoustic parameter STEarly and audience acoustic parameters G and C80 decreased, whereas, the reverberation time and early decay time increased with increasing Vo/V. Secondly, a computer simulation was performed for nine existing concert halls, while changing Vo/V from −20% to 30%. The room acoustic parameters exhibited the same patterns as suggested by the simple model. Vo/V significantly affected the bass ratio and bass index. A comparison of the effects of Vo/V and the sound absorption coefficient in nine concert halls revealed that Vo/V contributed approximately 15% to the reverberation and affected the bass characteristics more substantially. Thus, Vo/V is a critical design factor when determining the warmth of the audience acoustics. The study results could be used as a basis for acoustic design in the future.

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Acoustic characterization of on-stage performers in performing spaces

Cited by 10 publications

References 17 publications

How orchestra members influence stage acoustic parameters on five different concert hall stages and orchestra pits

How orchestra members influence stage acoustic parameters on five different concert hall stages and orchestra pits

Grounded theory-based subjective evaluation of traditional Chinese performance buildings

Effect of Stage Volume Ratio on Audience Acoustics in Concert Halls

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