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CONCERT HALL ACOUSTICS AND OPERA HOUSE ACOUSTICS

✍ Scribed by Y. ANDO; R. POMPOLI


Publisher
Elsevier Science
Year
2002
Tongue
English
Weight
44 KB
Volume
258
Category
Article
ISSN
0022-460X

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πŸ“œ SIMILAR VOLUMES


Leo Beranek, ,Concert Halls and Opera Ho
✍ Patrizio Fausti πŸ“‚ Article πŸ“… 2005 πŸ› Elsevier Science 🌐 English βš– 138 KB

In his book Concert Halls and Opera Houses, Leo Beranek offers us a comprehensive, clear guide to the acoustics of places for musical performance, as well as an illustrated compendium of 100 of the world's important concert halls and opera houses, from the point of view of a scientist with a passion

Excerpts from Concert Hall Acousticsβ€”198
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In the paper Concert Hall Acoustics--1989, a summary of prior research was made, using, as examples, concert halls with both satisfactory and troublesome acoustics. The paper concluded with the following excerpts that summarize the author's present view of the knowledge available for acousticians to

Acoustical criteria for concert hall sta
✍ V.L. Jordan πŸ“‚ Article πŸ“… 1982 πŸ› Elsevier Science 🌐 English βš– 379 KB

## A survey of values of the inversion index (II) in a number of concert halls reveals large variations. Extreme values occur for stages of obviously quite different properties. Recent investigations have concentrated on the energy balance between direct sound energy and early refection energy for

MEASURED EARLY LATERAL ENERGY FRACTIONS
✍ M. BARRON πŸ“‚ Article πŸ“… 2000 πŸ› Elsevier Science 🌐 English βš– 373 KB

In the 30 years since early lateral re#ections were "rst suggested as important for concert halls, spatial impression and source broadening have become almost universally accepted as essential characteristics of halls with good acoustics. Two objective measures of source broadening have been propose

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To establish a definite list of the most important objective criteria for concert halls is not easy, but it is suggested that a group of four or five criteria may be sufficient to characterise, in general, the 'acoustics" of a specific hall. Comparing various concert halls by means of their measured

Design of room acoustics and a MCR rever
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Bjergsted concert hall in Stavanger, Norway, was opened in 1982 as a multi-purpose hail, but primarily intended for concert~'. The hall has been rebuilt frem an oM dome-shaped exhibition hall. The new shape qf the hall was designed using computeri:ed sound ray tracing, in a threedimensional mathemat