New PDF release: Concert Halls and Opera Houses: Music, Acoustics, and

By Leo Beranek

ISBN-10: 0387216367

ISBN-13: 9780387216362

ISBN-10: 1441930388

ISBN-13: 9781441930385

he first query any lover of classical tune frequently asb an acoustician is, "Which are the easiest halls within the world?" The response-the 3 halls rated optimum by means 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 reliable whereas many halls equipped after 1950 appear to be mediocre or failures?" you will discover solutions to those questions during this booklet the results of a half-century's learn into the very complicated box of acoustics of halls for track. The conversation re-enacted above bears an in depth resemblance to a different representation that usually problems tune fans. they regularly asl

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Additional resources for Concert Halls and Opera Houses: Music, Acoustics, and Architecture

Example text

This knowledge, then, contributes to the critic's assessment of a performance. Critics have a significant influence on a hall's reputation when the institution holds its gala opening or inaugural performance after major renovations. At that opening concert, the critic probably asks him or herself an array of questions all of which reveal something about the new building's acoustics. Are the tone qualities of and the balance among the different sections of the orchestra to my liking? Is the sound as good or better than that in the hall{s} that I regularly attend?

Ensemble "Ensemble" refers to the ability of the performers to play in unison-to initiate and release their notes simultaneously so that the many voices sound as one. Orchestral ensemble depends on the ability of the musicians to hear (and perhaps to see) their fellow performers. The sound-reflecting surfaces near and above the performers should cany the sound from the players on one part of the stage to those on other parts. Risers on the stage are often used to enable the musicians to The Language of Musical Acoustics see each other better (they can also allow the audience on the main floor to see the players at the rear of the orchestra).

The conductors and soloists-the most high-profile performers-make judgments based, in part, on factors that the audience is not aware of, such as the response to their ears of the stage enclosure, the ability of the musicians to hear each other, and the early reflections from the auditorium that reach their ears. If every conductor says that Hall "X" is one of the great halls of the world, their combined opinion will outweigh any results of questionnaires that might be ad- dressed to that hall's concertgoers.

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Concert Halls and Opera Houses: Music, Acoustics, and Architecture by Leo Beranek

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