By Leo Beranek
he first query any lover of classical track frequently asb an acoustician is, "Which are the simplest halls within the world?" The response-the 3 halls rated optimum by way of world-praised conductors and song critics of the most important newspapers have been inbuilt 1870, 1888, and 1900-always activates the subsequent question: "Why are these so sturdy whereas many halls outfitted after 1950 appear to be mediocre or failures?" you can find solutions to those questions during this publication the results of a half-century's examine into the very complicated box of acoustics of halls for tune. The conversation re-enacted above bears a detailed resemblance to a different representation that sometimes issues track fanatics. they regularly asl
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Additional resources for Concert Halls and Opera Houses: Music, Acoustics, and Architecture
4. A "reflection pattern" diagram, useful for measuring the initial- time-delay gap (lTOG). It illustrates the sequence in which sounds travel to a listener's ears and the relative loudness of each sound. The vertical line at the left shows the sound that travels directly from the performer to the listener, the first sound to arrive. After the ITOG, reflections from the walls, ceiling, stage enclosure (see Fig. 1), and other reflecting surfaces arrive in rapid succession. The height of the direct sound plus the height of the series of reflections suggests the loudness of the sound.
5 sec. In the small theaters, such as Munich's Altesresidenz Theater (opened in 1753), the music sounded intimate because of the many nearby sound-reflecting surfaces; when full, it had an especially short reverberation time. Even today, we prefer to listen to this highly articulated music in a small space with fairly low reverberation time. The spaces avaJable for Baroque sacred music covered an unusually diverse range, presenting composers with certain challenges and possibilities. Bach may be the composer who best exploited that range.
WIth this general introduction, we shall move in the next chapter to the terminology used in musical acoustics and to an understanding of the acoustical factors that are believed, at this stage of acousticall
Concert Halls and Opera Houses: Music, Acoustics, and Architecture by Leo Beranek