Subjective Preference of Cellists for the Delay Time of a Single Reflection in a Performance

Sato, Shin; Ando, Yoichi; Ota, Saho

doi:10.1006/jsvi.1999.2683

Cited by 10 publications

(9 citation statements)

References 5 publications

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“…This indicates that performers evaluate the amplitude of the re#ection about as being 7 times greater than listeners do, which is known as the &&missing re#ection for performers''. A similar tendency was found for cellists with k"1/2 and c"1 [22]. Musicians prefer weaker amplitudes than listeners do.…”

Section: Preferred Delay Of a Single Reflection For Performerssupporting

confidence: 80%

Formulae Describing Subjective Attributes for Sound Fields Based on a Model of the Auditory-Brain System

Ando

Sakai

Sato

2000

Journal of Sound and Vibration

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Section: Preferred Delay Of a Single Reflection For Performerssupporting

confidence: 80%

Formulae Describing Subjective Attributes for Sound Fields Based on a Model of the Auditory-Brain System

Ando

Sakai

Sato

2000

Journal of Sound and Vibration

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“…The results indicated that the self-to-other ratio in sound levels is most crucial for good communication between the players, followed by visual communication. Nakayama (1986) and Sato et al (2000) found through laboratory experiments with five cello soloists and one alto-recorder soloist that the preferred delay of a reflection depended on the tempo of the musical motif played. A longer delay time was preferred for the slowest motif.…”

Section: Laboratory Experimentsmentioning

confidence: 99%

Stage acoustics for symphony orchestras in concert halls

Dammerud

2010

The Journal of the Acoustical Society of America

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The main goals for this study were to better understand what are the acoustic conditions physically within a symphony orchestra on concert hall stages, how these physical conditions affect the players and ultimately how to design venues suitable for symphony orchestras. This was investigated through questionnaire surveys and dialogue with musicians, scale and computer modelling and measurements of existing stages. The results from the orchestra collaborations indicate that the impressions of acoustic conditions are related to complex perceptual effects. When relating these effects to acoustic conditions, a narrow and high stage enclosure with the stage highly exposed to the main auditorium appears most beneficial. Existing methods for assessing the stage acoustically by use of omnidirectional transducers without the orchestra present were found to have only limited relevance to perceived conditions. New methods and objective architectural measures have been proposed. The architectural measures successfully discriminate the most preferred from the least preferred stages of purpose-built concert halls. The results from judgements of existing stages support the finding of a narrow and high stage enclosure with a highly exposed stage being most beneficial. How to improve the assessment of acoustic conditions on stage is discussed. Copies of the thesis written in English can be obtained from Jens Jo/rgen Dammerud. E-mail address: jjdamm@gmail.com. 4

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“…However, the results, plotted as a point in Figure 10, indicate a singer preference close to the preference relationship for listeners. The !3 dB re#ection level of this study places singer's preferences at a relatively higher re#ection level than cellists [10] or alto recorder performers.…”

Section: Minimum Running Acfmentioning

confidence: 81%