Preferred positions for solo, duet, and quartet performers on stage in concert halls: In situ experiment with acoustic measurements

Jeon, Jin Yong; Kim, Young Sun; Lim, Hansol; Cabrera, Densil

doi:10.1016/j.buildenv.2015.07.010

Cited by 9 publications

(4 citation statements)

References 26 publications

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“…Although, previous studies on diffusive-to-reflective surface discrimination have shown compatible results between experts and non-expert listeners [7]. Moreover, also the effects of the diffuser location over the stage area and musicians' perception could be investigated with specific protocols as in [8]. The effect of diffusers on a different type of performances and related preference remains a crucial point to be further investigated given the importance of the specific effects recreated by the artists' work [45].…”

Section: Limitations Of the Studymentioning

confidence: 99%

“…Therefore, more adequate diffuser design and evaluation tools for acousticians and architects are needed since the preliminary phases of the design process to promote the use of sound diffusers. In order to better understand the diffusive surfaces effects, several case studies have been used for objective and subjective investigations through measurements in real halls [4,[6][7][8], physical-scale models [4,[8][9][10][11][12], and simulations of performance spaces [12][13][14][15][16].…”

Section: Introductionmentioning

confidence: 99%

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Listeners Sensitivity to Different Locations of Diffusive Surfaces in Performance Spaces: The Case of a Shoebox Concert Hall

2020

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Diffusive surfaces are considered as one of the most challenging aspects to deal with in the acoustic design of concert halls. However, the acoustic effects that these surface locations have on the objective acoustic parameters and on sound perception have not yet been fully understood. Therefore, the effects of these surfaces on the acoustic design parameters have been investigated in a real shoebox concert hall with variable acoustics (Espace de Projection, IRCAM, Paris, France). Acoustic measurements have been carried out in six hall configurations by varying the location of the diffusive surfaces over the front, mid, and rear part of the lateral walls, while the other surfaces have been maintained absorptive or reflective. Moreover, two reference conditions, that is, fully absorptive and reflective boundaries of the hall have been tested. Measurements have been carried out at different positions in the hall, using an artificial head and an array of omnidirectional microphones. Conventional ISO 3382 objective acoustic parameters have been evaluated in all conditions. The results showed that the values of these parameters do not vary significantly with the diffusive surface location. Moreover, a subjective investigation performed by using the ABX method with auralizations at two listening positions revealed that listeners are not sensitive to the diffusive surface location variations even when front-rear asymmetric conditions are compared. However, some of them reported perceived differences relying on reverberance, coloration, and spaciousness.

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Section: Limitations Of the Studymentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

Listeners Sensitivity to Different Locations of Diffusive Surfaces in Performance Spaces: The Case of a Shoebox Concert Hall

2020

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“…It can be observed that there is a wide range of variability and that these parameters still do not have a defined Just Noticeable Difference (JND), which makes it difficult to estimate the significant effects of specific design choices. Moreover, while very often these parameters have been correlated to subjective data in large orchestras on stage [19,20], while there are several open questions for small and open-air concert halls. This paper focuses on the results of a measurement campaign on four different configurations of an acoustic shell used on the stage for an open-air concert of chamber music (Figure 1).…”

Section: Introductionmentioning

confidence: 99%

Measurements of stage acoustics in four configurations of an open-air performance acoustic shell

Shtrepi,

Badino,

Lancia

et al. 2024

Proceedings of the 10th Convention of the European Acoustics Association Forum Acusticum 2023

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Different design recommendations for stage design and parameters for objective measures of the stage conditions have been proposed. They aim to provide the right balance to each musician on stage, consisting in hearing one-self (support) and hearing others (ensemble). These aspects become even more challenging for open-air acoustic shells. The paper presents the case-study of ReS, an acoustic shell developed in the frame of "Villa Pennisi in Musica" Summer School, a "learning by doing"-based workshop approach that promotes the integration of acoustics, digital optimization and technology in an environment that involves musicians with different levels of expertise. This paper focuses on the results of a measurement campaign on five different configurations of the acoustic shell. The design elements related to the reflectors array and sound diffuser have been considered separately and in combination to investigate their effects on the objective stage acoustic parameters that is early and late support (STearly and STlate) and spectral content. To this aim, the musicians' configuration of a sestetto has been considered. The results show that ST parameters are little sensitive (differences <1dB) to the presence of the reflectors array and diffuser, however some significant spectral effects could be attributed to these design elements.

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“…Chiang et al [17] evaluated the preferred stage acoustics for solo and chamber music performances [18]. The preferred positions of musicians on the stage were also researched based on measurement data, and the results showed that positions at the front of the stage were preferred [19].…”

Section: Introductionmentioning

confidence: 99%

Effect of Stage Volume Ratio on Audience Acoustics in Concert Halls

Jeon

Seo

2020

Sustainability

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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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Preferred positions for solo, duet, and quartet performers on stage in concert halls: In situ experiment with acoustic measurements

Cited by 9 publications

References 26 publications

Listeners Sensitivity to Different Locations of Diffusive Surfaces in Performance Spaces: The Case of a Shoebox Concert Hall

Listeners Sensitivity to Different Locations of Diffusive Surfaces in Performance Spaces: The Case of a Shoebox Concert Hall

Measurements of stage acoustics in four configurations of an open-air performance acoustic shell

Effect of Stage Volume Ratio on Audience Acoustics in Concert Halls

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