"Acoustics vases in ancient theatres: disposition, analysis from the ancient tetracordal musical system"

Abstract

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.

Roman Theatres and Revival of Their Acoustics in the ERATO Project

“…So it also makes sense to apply different sizes with resonance frequencies distributed overt wo octaves, as described in detail by Vitruvius. This may correspond to the frequencyrange 220-880 Hz as suggested by Barba Sevillano et al [13]; this paper contains at horough analysis of the frequencies of the vessels in relation to the ancient Greek musical system developed by Aristoxenus.…”

Architecture, Engineering and Building Science: The Contemporary Relevance of Vitruvius’s De Architectura

“…Many peculiar characteristics personalized each Roman theatre in agreement with their space-temporary situation. In addition, with the uninterrupted use of the theatres during several centuries, successive architectonic interventions were carried out in order to adapt the theatre to the requirements of every society" ( [38], p. 5).…”

“…Recent research on these vases undertaken by Barba at al. acknowledges that Jose Ortiz y Sanz (1739-1822) doubted their effectiveness, and George Charles Izenour (1912Izenour ( -2007 believed their effect would have been very poor [38]. The former translated De Architectura into Spanish [90]; the latter was a leading innovator in theatre design and technology and taught at Yale University from 1940 to 1977 [91].…”

“…Recent research covers De Architectura's standing both in the humanities and in the sciences. Further to a publication on Vitruvius as an author [21], related studies cover a contemporary reading of the opening chapter of De Architectura [22], the literary significance of the treatise [23][24][25][26][27][28][29][30] and its raced-gendered narrative [31], the use of building materials and construction methods as media forming the identity of the Roman Empire [32], and Vitruvius's geographical system [33] and design (e.g., linear perspective [34], Roman temples [35], the Basilica at Fano [36,37] and acoustic vessels [38]). Studies related to the last of these themes include the geological analysis of tuff and travertine in stone masonry [39][40][41], mortar [42][43][44] and concrete technology [45][46][47], notably seawater concrete [48][49][50][51][52].…”

An interdisciplinary approach for the study and the valorization of the roman theatres of Crete

“…It does not look plausible that there were pillars all around because the back side of the cavea is lying 52 The real existence of such bronze vessels is discussed because there is not archaeological evidence of them. In addition, only few examples of cavities in the cavea exist (Beth Shean, Gerasa, Schytopolis), but we do not know if they were used to host these kind of vases [113].…”