Serveur d'exploration sur l'opéra

Attention, ce site est en cours de développement !
Attention, site généré par des moyens informatiques à partir de corpus bruts.
Les informations ne sont donc pas validées.

Why do traditional opera houses work so well for opera?

Identifieur interne : 000756 ( PascalFrancis/Checkpoint ); précédent : 000755; suivant : 000757

Why do traditional opera houses work so well for opera?

Auteurs : Nicholas Edwards ; David Kahn

Source :

RBID : Pascal:98-0257571

Descripteurs français

Abstract

Most computer models of room acoustics assume geometric acoustics (as if sound behaves like light). This has assisted our understanding of how room shape (fan shape versus rectangular, for example) can affect the acoustics of concert halls. When one applies geometric acoustics modeling to the traditional opera house, typically all one finds is a single ceiling reflection. The geometric approach holds little promise for understanding the magic of opera house acoustics. One of the acoustical attributes ignored by the geometric model is edge diffraction of sound. Our research has shown edge diffraction to be essential in predicting the superior acoustics of the traditional opera house. We have developed an alternative to the geometric acoustics model based on edge diffraction. In a two-dimensional representation, the locus of points with equal delay time is an ellipse; in three dimensions, the locus is the volume of revolution of an ellipse. By studying where this ellipsoidal volume intersects with the balcony fronts, we can locate where, at any given time, the edge-diffracted sound is coming from. This model is applied to LaScala, and a movie'' is developed to show how the balcony front edges contribute to the sound that is heard.


Affiliations:


Links toward previous steps (curation, corpus...)


Links to Exploration step

Pascal:98-0257571

Le document en format XML

<record>
<TEI>
<teiHeader>
<fileDesc>
<titleStmt>
<title xml:lang="en" level="a">Why do traditional opera houses work so well for opera?</title>
<author>
<name sortKey="Edwards, Nicholas" sort="Edwards, Nicholas" uniqKey="Edwards N" first="Nicholas" last="Edwards">Nicholas Edwards</name>
</author>
<author>
<name sortKey="Kahn, David" sort="Kahn, David" uniqKey="Kahn D" first="David" last="Kahn">David Kahn</name>
</author>
</titleStmt>
<publicationStmt>
<idno type="wicri:source">INIST</idno>
<idno type="inist">98-0257571</idno>
<date when="1998-05">1998-05</date>
<idno type="stanalyst">PASCAL 98-0257571 AIP</idno>
<idno type="RBID">Pascal:98-0257571</idno>
<idno type="wicri:Area/PascalFrancis/Corpus">000857</idno>
<idno type="wicri:Area/PascalFrancis/Curation">000C13</idno>
<idno type="wicri:Area/PascalFrancis/Checkpoint">000756</idno>
</publicationStmt>
<sourceDesc>
<biblStruct>
<analytic>
<title xml:lang="en" level="a">Why do traditional opera houses work so well for opera?</title>
<author>
<name sortKey="Edwards, Nicholas" sort="Edwards, Nicholas" uniqKey="Edwards N" first="Nicholas" last="Edwards">Nicholas Edwards</name>
</author>
<author>
<name sortKey="Kahn, David" sort="Kahn, David" uniqKey="Kahn D" first="David" last="Kahn">David Kahn</name>
</author>
</analytic>
<series>
<title level="j" type="main">The Journal of the Acoustical Society of America</title>
<title level="j" type="abbreviated">J. Acoust. Soc. Am.</title>
<idno type="ISSN">0001-4966</idno>
<imprint>
<date when="1998-05">1998-05</date>
</imprint>
</series>
</biblStruct>
</sourceDesc>
<seriesStmt>
<title level="j" type="main">The Journal of the Acoustical Society of America</title>
<title level="j" type="abbreviated">J. Acoust. Soc. Am.</title>
<idno type="ISSN">0001-4966</idno>
</seriesStmt>
</fileDesc>
<profileDesc>
<textClass>
<keywords scheme="Pascal" xml:lang="fr">
<term>4390</term>
</keywords>
</textClass>
</profileDesc>
</teiHeader>
<front>
<div type="abstract" xml:lang="en">Most computer models of room acoustics assume geometric acoustics (as if sound behaves like light). This has assisted our understanding of how room shape (fan shape versus rectangular, for example) can affect the acoustics of concert halls. When one applies geometric acoustics modeling to the traditional opera house, typically all one finds is a single ceiling reflection. The geometric approach holds little promise for understanding the magic of opera house acoustics. One of the acoustical attributes ignored by the geometric model is edge diffraction of sound. Our research has shown edge diffraction to be essential in predicting the superior acoustics of the traditional opera house. We have developed an alternative to the geometric acoustics model based on edge diffraction. In a two-dimensional representation, the locus of points with equal delay time is an ellipse; in three dimensions, the locus is the volume of revolution of an ellipse. By studying where this ellipsoidal volume intersects with the balcony fronts, we can locate where, at any given time, the edge-diffracted sound is coming from. This model is applied to LaScala, and a movie'' is developed to show how the balcony front edges contribute to the sound that is heard.</div>
</front>
</TEI>
<inist>
<standard h6="B">
<pA>
<fA01 i1="01" i2="1">
<s0>0001-4966</s0>
</fA01>
<fA02 i1="01">
<s0>JASMAN</s0>
</fA02>
<fA03 i2="1">
<s0>J. Acoust. Soc. Am.</s0>
</fA03>
<fA05>
<s2>103</s2>
</fA05>
<fA06>
<s2>5</s2>
</fA06>
<fA08 i1="01" i2="1" l="ENG">
<s1>Why do traditional opera houses work so well for opera?</s1>
</fA08>
<fA11 i1="01" i2="1">
<s1>EDWARDS (Nicholas)</s1>
</fA11>
<fA11 i1="02" i2="1">
<s1>KAHN (David)</s1>
</fA11>
<fA14 i1="01">
<s1>Acoustic Dimensions, 24 Styvechale Ave., Coventry CV5 6DX, UK</s1>
<sZ>0 aut.</sZ>
</fA14>
<fA20>
<s2>p. 2784</s2>
</fA20>
<fA21>
<s1>1998-05</s1>
</fA21>
<fA23 i1="01">
<s0>ENG</s0>
</fA23>
<fA43 i1="01">
<s1>INIST</s1>
<s2>129</s2>
</fA43>
<fA44>
<s0>8100</s0>
<s1>© 1998 American Institute of Physics. All rights reserved.</s1>
</fA44>
<fA47 i1="01" i2="1">
<s0>98-0257571</s0>
</fA47>
<fA60>
<s1>P</s1>
<s3>E</s3>
</fA60>
<fA61>
<s0>A</s0>
</fA61>
<fA64 i2="1">
<s0>The Journal of the Acoustical Society of America</s0>
</fA64>
<fA66 i1="01">
<s0>USA</s0>
</fA66>
<fC01 i1="01" l="ENG">
<s0>Most computer models of room acoustics assume geometric acoustics (as if sound behaves like light). This has assisted our understanding of how room shape (fan shape versus rectangular, for example) can affect the acoustics of concert halls. When one applies geometric acoustics modeling to the traditional opera house, typically all one finds is a single ceiling reflection. The geometric approach holds little promise for understanding the magic of opera house acoustics. One of the acoustical attributes ignored by the geometric model is edge diffraction of sound. Our research has shown edge diffraction to be essential in predicting the superior acoustics of the traditional opera house. We have developed an alternative to the geometric acoustics model based on edge diffraction. In a two-dimensional representation, the locus of points with equal delay time is an ellipse; in three dimensions, the locus is the volume of revolution of an ellipse. By studying where this ellipsoidal volume intersects with the balcony fronts, we can locate where, at any given time, the edge-diffracted sound is coming from. This model is applied to LaScala, and a movie'' is developed to show how the balcony front edges contribute to the sound that is heard.</s0>
</fC01>
<fC02 i1="01" i2="X">
<s0>001B40C</s0>
</fC02>
<fC03 i1="01" i2="3" l="FRE">
<s0>4390</s0>
<s2>PAC</s2>
<s4>INC</s4>
</fC03>
<fN21>
<s1>166</s1>
</fN21>
<fN47 i1="01" i2="1">
<s0>9808M001422</s0>
</fN47>
</pA>
</standard>
</inist>
<affiliations>
<list></list>
<tree>
<noCountry>
<name sortKey="Edwards, Nicholas" sort="Edwards, Nicholas" uniqKey="Edwards N" first="Nicholas" last="Edwards">Nicholas Edwards</name>
<name sortKey="Kahn, David" sort="Kahn, David" uniqKey="Kahn D" first="David" last="Kahn">David Kahn</name>
</noCountry>
</tree>
</affiliations>
</record>

Pour manipuler ce document sous Unix (Dilib)

EXPLOR_STEP=$WICRI_ROOT/Wicri/Musique/explor/OperaV1/Data/PascalFrancis/Checkpoint
HfdSelect -h $EXPLOR_STEP/biblio.hfd -nk 000756 | SxmlIndent | more

Ou

HfdSelect -h $EXPLOR_AREA/Data/PascalFrancis/Checkpoint/biblio.hfd -nk 000756 | SxmlIndent | more

Pour mettre un lien sur cette page dans le réseau Wicri

{{Explor lien
   |wiki=    Wicri/Musique
   |area=    OperaV1
   |flux=    PascalFrancis
   |étape=   Checkpoint
   |type=    RBID
   |clé=     Pascal:98-0257571
   |texte=   Why do traditional opera houses work so well for opera?
}}

Wicri

This area was generated with Dilib version V0.6.21.
Data generation: Thu Apr 14 14:59:05 2016. Site generation: Thu Jan 4 23:09:23 2024