Architectural Features That Make Music Bloom in Concert Halls

Lokki, Tapio; Pätynen, Jukka

doi:10.3390/acoustics1020025

Cited by 7 publications

(4 citation statements)

References 34 publications

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“…When an orchestra plays louder, in some halls the size of the orchestra seems to increase and the hall "wakes up" in fortissimo. Green and Kahle (2019) and Lokki and P€ atynen (2019) propose that this effect is due to the perception of the early reflections which has been shown to depend on the level and direction. Direct comparison of the perceptual differences between halls is hard and in an earlier study, we measured the joint impression, which was called impact (P€ atynen and Lokki, 2016a).…”

Section: Introductionmentioning

confidence: 99%

Perception of loudness and envelopment for different orchestral dynamics

Lokki

McLeod

Kuusinen

2020

The Journal of the Acoustical Society of America

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One of the main factors that makes listening to live concerts emotionally engaging is the dynamic changes in the music. Recent research has shown that concert hall acoustics can affect the perception of orchestral dynamics, but hardly any listening tests have focused on this interplay between the dynamics in music and hall acoustics. In this study, the influence of the orchestral dynamics is assessed with auralizations of musical excerpts of different dynamics (from pianissimo to fortissimo) in two listening positions within four different concert halls. Pairwise comparisons were made in terms of loudness and envelopment which are among the main perceptual factors of concert hall acoustics. The subjective results show that the loudness and envelopment can depend on the musical dynamics. Therefore, in future research on concert hall acoustics, much more attention should be paid to the dynamically varying spectrum of the stimulus signal and the listening level, not only to linear impulse responses used for computing objective parameters.

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Section: Introductionmentioning

confidence: 99%

Perception of loudness and envelopment for different orchestral dynamics

Lokki

McLeod

Kuusinen

2020

The Journal of the Acoustical Society of America

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“…This is especially notable considering the limited knowledge on room acoustics and measurement equipment available to 19th century architects and scientists. In particular, the importance given to considerations of the strength of sound and sufficient homogeneity of strength throughout the audience, taking into consideration source directivity and performance practice, is notable given the recent attention to such factors [55,56]. However, the emergence and improved feasibility of evaluating strength, with the room acoustic parameter G, provides improved access to acousticians for such concepts [57].…”

Section: Discussionmentioning

confidence: 99%

Pre-Sabine Room Acoustic Guidelines on Audience Rake, Stage Acoustics, and Dimension Ratios

Postma

Green²,

Kahle³

et al. 2021

Acoustics

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Prior to Sabine’s work on the Fogg Art Museum and Boston Symphony Hall, several numerical guidelines had been developed and applied to the design of rooms with specific acoustic demands such as theatres, concert halls, and opera houses. Previous papers have discussed guidelines based on the following principles: voice directivity, which was employed in the design of at least 11 rooms; “echo theory”, which quantifies the perception threshold between direct sound and first order reflections in order to prevent echoes from occurring, aiding in the design of at least 7 rooms and leading to the first known use of an acoustic scale model; and notions of reverberation, which influenced the design of at least 14 rooms. This paper discusses three additional pre-Sabine numerical guidelines that were used in room acoustic design: (1) audience rake, (2) stage acoustics and proscenium design, and (3) length, width, and height ratios. The origin of these theories, as well as examples of rooms in which they were applied, are discussed and compared to current practices in room acoustic design.

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“…When a sound is produced in a concert venue, the reverberation of the hall can be timed until that sound has completely disappeared. Longer reverberation is desirable for a music space as opposed to a theatrical space, where clarity and intelligibility of speech is more important than sound quality [6]. Longer reverberation is difficult to achieve.…”

Section: Sound Quality Principles In Concert Hallsmentioning

confidence: 99%

Coatings and Surface Treatment Effects on Sound Quality in Concert Halls: A Case Study of the Bibliotheca Alexandrina Conference Hall, Egypt

Shousha

Farghaly

Maarof

et al. 2021

Materials and Contact Characterisation X

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In concert halls, interaction between music and features of the hall happens continuously. As the concert hall is considered a box full of sound reflections and waves which get reflected all the time from and to every surface in the hall. However, most concert halls are not in the ideal state to achieve the optimum experience for the attendees in terms of sound quality. The most common reason is that they were designed for multiple different purposes such as conferences or speeches. This research aims to study the effect of material characterizations and surface treatment; such as porosity, absorption and reflection, and their effect on the sound quality in concert halls. This research consists of two parts: Part one is a review of concert hall design principles and the materials used in its furnishing and finishing, plus a review of every advantage and disadvantage of most used materials. The second part is a case study on a conference hall turned to a main concert hall in Bibliotheca Alexandrina, where sound measurements took, and software application was held after suggesting some changes to surface treatment and coatings in that hall. The results of the research have proven that changing surface treatment and coatings can help positively in turning any hall to a concert hall and enhancing it's the sound quality.

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Architectural Features That Make Music Bloom in Concert Halls

Cited by 7 publications

References 34 publications

Perception of loudness and envelopment for different orchestral dynamics

Perception of loudness and envelopment for different orchestral dynamics

Pre-Sabine Room Acoustic Guidelines on Audience Rake, Stage Acoustics, and Dimension Ratios

Coatings and Surface Treatment Effects on Sound Quality in Concert Halls: A Case Study of the Bibliotheca Alexandrina Conference Hall, Egypt

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