OperaV1, PascalFrancis, Corpus, bibRecord, 000282

Computer model investigations on the balance between stage and pit sources in opera houses

Identifieur interne : 000282 ( PascalFrancis/Corpus ); précédent : 000281; suivant : 000283

Computer model investigations on the balance between stage and pit sources in opera houses

Auteurs : Linda Parati ; Nicola Prodi ; Roberto Pompoli

Source :

Applied Acoustics [ 0003-682X ] ; 2007.

RBID : Pascal:08-0196886

Descripteurs français

Pascal (Inist)
- Opéra bâtiment, Acoustique architecturale, Simulation ordinateur, Balance, Conception assistée, Qualification, Méthode mesure, Simulation, Etude comparative.

English descriptors

KwdEn :
- Architectural acoustics, Balances, Comparative study, Computer aided design, Computer simulation, Measurement method, Opera(building), Qualification, Simulation.

Abstract

The acoustical balance between the singer on the stage and the orchestra in the pit is typically found inside an opera house. The competition of the two sources is crucial, since in an opera the singer and the orchestra are performing at the same time. This topic of balance is receiving increasing attention in recent years, but several aspects are still to be clarified. The aim of this work is twofold: firstly the procedure for the acoustical qualification of the balance between the singer and the orchestra is investigated and secondly the means of controlling the balance at the design stage or during renovations is considered. For both tasks the study was conducted in a group of opera houses modelled within an acoustical CAD program. As regards the qualification of the balance this investigation compares the directional characteristics of two loudspeakers and of a dodecahedron omnidirectional loudspeaker in the emulation of a soprano during simulated room acoustics measurements. It is shown that, in order to emulate a soprano singer, the directional characteristics of the source on the stage are quite important. The control of balance was also studied and the work reserves a special emphasis to the case of historical opera houses. In fact, when such theatres are refurbished, the range of possible architectural interventions is often limited to the orchestra pit only, due to the heritage nature of the hall which prevents from any substantial change in the area of the forestage. For this reason it is important to investigate the effectiveness of such limited interventions in the pit, and this is done here by a detailed study of the effects on balance of some major changes of the orchestra pit only.

Notice en format standard (ISO 2709)

Pour connaître la documentation sur le format Inist Standard.

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Format Inist (serveur)

NO :	PASCAL 08-0196886 INIST
ET :	Computer model investigations on the balance between stage and pit sources in opera houses
AU :	PARATI (Linda); PRODI (Nicola); POMPOLI (Roberto)
AF :	Dipartimento di Ingegneria, Università di Ferrara, Via Saragat 1/44100 Ferrara/Italie (1 aut., 2 aut., 3 aut.)
DT :	Publication en série; Niveau analytique
SO :	Applied Acoustics; ISSN 0003-682X; Coden AACOBL; Royaume-Uni; Da. 2007; Vol. 68; No. 10; Pp. 1156-1176; Bibl. 14 ref.
LA :	Anglais
EA :	The acoustical balance between the singer on the stage and the orchestra in the pit is typically found inside an opera house. The competition of the two sources is crucial, since in an opera the singer and the orchestra are performing at the same time. This topic of balance is receiving increasing attention in recent years, but several aspects are still to be clarified. The aim of this work is twofold: firstly the procedure for the acoustical qualification of the balance between the singer and the orchestra is investigated and secondly the means of controlling the balance at the design stage or during renovations is considered. For both tasks the study was conducted in a group of opera houses modelled within an acoustical CAD program. As regards the qualification of the balance this investigation compares the directional characteristics of two loudspeakers and of a dodecahedron omnidirectional loudspeaker in the emulation of a soprano during simulated room acoustics measurements. It is shown that, in order to emulate a soprano singer, the directional characteristics of the source on the stage are quite important. The control of balance was also studied and the work reserves a special emphasis to the case of historical opera houses. In fact, when such theatres are refurbished, the range of possible architectural interventions is often limited to the orchestra pit only, due to the heritage nature of the hall which prevents from any substantial change in the area of the forestage. For this reason it is important to investigate the effectiveness of such limited interventions in the pit, and this is done here by a detailed study of the effects on balance of some major changes of the orchestra pit only.
CC :	001D14I04E; 001D14A01; 001B40C55; 295
FD :	Opéra bâtiment; Acoustique architecturale; Simulation ordinateur; Balance; Conception assistée; Qualification; Méthode mesure; Simulation; Etude comparative
ED :	Opera(building); Architectural acoustics; Computer simulation; Balances; Computer aided design; Qualification; Measurement method; Simulation; Comparative study
SD :	Ópera(edificio); Acústica arquitectural; Simulación computadora; Balanza; Concepción asistida; Cualificación; Método medida; Simulación; Estudio comparativo
LO :	INIST-14168.354000160813340060
ID :	08-0196886

Links to Exploration step

Pascal:08-0196886

Le document en format XML

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<front><div type="abstract" xml:lang="en">The acoustical balance between the singer on the stage and the orchestra in the pit is typically found inside an opera house. The competition of the two sources is crucial, since in an opera the singer and the orchestra are performing at the same time. This topic of balance is receiving increasing attention in recent years, but several aspects are still to be clarified. The aim of this work is twofold: firstly the procedure for the acoustical qualification of the balance between the singer and the orchestra is investigated and secondly the means of controlling the balance at the design stage or during renovations is considered. For both tasks the study was conducted in a group of opera houses modelled within an acoustical CAD program. As regards the qualification of the balance this investigation compares the directional characteristics of two loudspeakers and of a dodecahedron omnidirectional loudspeaker in the emulation of a soprano during simulated room acoustics measurements. It is shown that, in order to emulate a soprano singer, the directional characteristics of the source on the stage are quite important. The control of balance was also studied and the work reserves a special emphasis to the case of historical opera houses. In fact, when such theatres are refurbished, the range of possible architectural interventions is often limited to the orchestra pit only, due to the heritage nature of the hall which prevents from any substantial change in the area of the forestage. For this reason it is important to investigate the effectiveness of such limited interventions in the pit, and this is done here by a detailed study of the effects on balance of some major changes of the orchestra pit only.</div>
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<ET>Computer model investigations on the balance between stage and pit sources in opera houses</ET>
<AU>PARATI (Linda); PRODI (Nicola); POMPOLI (Roberto)</AU>
<AF>Dipartimento di Ingegneria, Università di Ferrara, Via Saragat 1/44100 Ferrara/Italie (1 aut., 2 aut., 3 aut.)</AF>
<DT>Publication en série; Niveau analytique</DT>
<SO>Applied Acoustics; ISSN 0003-682X; Coden AACOBL; Royaume-Uni; Da. 2007; Vol. 68; No. 10; Pp. 1156-1176; Bibl. 14 ref.</SO>
<LA>Anglais</LA>
<EA>The acoustical balance between the singer on the stage and the orchestra in the pit is typically found inside an opera house. The competition of the two sources is crucial, since in an opera the singer and the orchestra are performing at the same time. This topic of balance is receiving increasing attention in recent years, but several aspects are still to be clarified. The aim of this work is twofold: firstly the procedure for the acoustical qualification of the balance between the singer and the orchestra is investigated and secondly the means of controlling the balance at the design stage or during renovations is considered. For both tasks the study was conducted in a group of opera houses modelled within an acoustical CAD program. As regards the qualification of the balance this investigation compares the directional characteristics of two loudspeakers and of a dodecahedron omnidirectional loudspeaker in the emulation of a soprano during simulated room acoustics measurements. It is shown that, in order to emulate a soprano singer, the directional characteristics of the source on the stage are quite important. The control of balance was also studied and the work reserves a special emphasis to the case of historical opera houses. In fact, when such theatres are refurbished, the range of possible architectural interventions is often limited to the orchestra pit only, due to the heritage nature of the hall which prevents from any substantial change in the area of the forestage. For this reason it is important to investigate the effectiveness of such limited interventions in the pit, and this is done here by a detailed study of the effects on balance of some major changes of the orchestra pit only.</EA>
<CC>001D14I04E; 001D14A01; 001B40C55; 295</CC>
<FD>Opéra bâtiment; Acoustique architecturale; Simulation ordinateur; Balance; Conception assistée; Qualification; Méthode mesure; Simulation; Etude comparative</FD>
<ED>Opera(building); Architectural acoustics; Computer simulation; Balances; Computer aided design; Qualification; Measurement method; Simulation; Comparative study</ED>
<SD>Ópera(edificio); Acústica arquitectural; Simulación computadora; Balanza; Concepción asistida; Cualificación; Método medida; Simulación; Estudio comparativo</SD>
<LO>INIST-14168.354000160813340060</LO>
<ID>08-0196886</ID>
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Computer model investigations on the balance between stage and pit sources in opera houses

Computer model investigations on the balance between stage and pit sources in opera houses

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