Orchestra pit acoustics: From Bayreuth to Broadway
Identifieur interne : 000858 ( PascalFrancis/Corpus ); précédent : 000857; suivant : 000859Orchestra pit acoustics: From Bayreuth to Broadway
Auteurs : Mark HoldenSource :
- The Journal of the Acoustical Society of America [ 0001-4966 ] ; 1998-05.
Descripteurs français
- Pascal (Inist)
- 4390.
Abstract
The design of orchestra pits for opera, ballet, and multiuse halls is examined from an historical perspective. The earliest orchestra pit designs for early European opera houses were open or bathtub'' pits holding few musicians on a single level. Pits remained similar until 1872 when Wagner's Bayreuth pit changed the musician/vocalist orientation by extending the pit below the stage edge in stepped tiers. Modern pit designs have varied from large bathtub'' pits (the Metropolitan Opera, San Francisco) to modified Bayreuth'' pits (Houston, Seattle, etc.) with varying degrees of success. Issues concerning musicians' comfort, loudness levels, and hearing loss are discussed along with ways to improve acoustics in the overhung area. Finishes and materials for walls, ceilings, and floors are discussed as well as adjustable acoustic panels, drapes, and walls that can be used to tune the pit for varying programs. Finally, solutions to the dilemma of Bayreuth versus Bathtub pits will be discussed.
Notice en format standard (ISO 2709)
Pour connaître la documentation sur le format Inist Standard.
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Format Inist (serveur)
NO : | PASCAL 98-0257570 AIP |
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ET : | Orchestra pit acoustics: From Bayreuth to Broadway |
AU : | HOLDEN (Mark) |
AF : | Jaffe Holden Scarbrough Acoust., Inc., 114A Washington St., Norwalk, CT 06854, mholden@jhsacoustics.com (0 aut.) |
DT : | Publication en série; Résumé; Niveau analytique |
SO : | The Journal of the Acoustical Society of America; ISSN 0001-4966; Coden JASMAN; Etats-Unis; Da. 1998-05; Vol. 103; No. 5; p. 2784 |
LA : | Anglais |
EA : | The design of orchestra pits for opera, ballet, and multiuse halls is examined from an historical perspective. The earliest orchestra pit designs for early European opera houses were open or <single high-reversed-9 quotation mark><single high-reversed-9 quotation mark>bathtub'' pits holding few musicians on a single level. Pits remained similar until 1872 when Wagner's Bayreuth pit changed the musician/vocalist orientation by extending the pit below the stage edge in stepped tiers. Modern pit designs have varied from large <single high-reversed-9 quotation mark><single high-reversed-9 quotation mark>bathtub'' pits (the Metropolitan Opera, San Francisco) to <single high-reversed-9 quotation mark><single high-reversed-9 quotation mark>modified Bayreuth'' pits (Houston, Seattle, etc.) with varying degrees of success. Issues concerning musicians' comfort, loudness levels, and hearing loss are discussed along with ways to improve acoustics in the overhung area. Finishes and materials for walls, ceilings, and floors are discussed as well as adjustable acoustic panels, drapes, and walls that can be used to tune the pit for varying programs. Finally, solutions to the dilemma of Bayreuth versus Bathtub pits will be discussed. |
CC : | 001B40C |
FD : | 4390 |
LO : | INIST-129 |
ID : | 98-0257570 |
Links to Exploration step
Pascal:98-0257570Le document en format XML
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<front><div type="abstract" xml:lang="en">The design of orchestra pits for opera, ballet, and multiuse halls is examined from an historical perspective. The earliest orchestra pit designs for early European opera houses were open or bathtub'' pits holding few musicians on a single level. Pits remained similar until 1872 when Wagner's Bayreuth pit changed the musician/vocalist orientation by extending the pit below the stage edge in stepped tiers. Modern pit designs have varied from large bathtub'' pits (the Metropolitan Opera, San Francisco) to modified Bayreuth'' pits (Houston, Seattle, etc.) with varying degrees of success. Issues concerning musicians' comfort, loudness levels, and hearing loss are discussed along with ways to improve acoustics in the overhung area. Finishes and materials for walls, ceilings, and floors are discussed as well as adjustable acoustic panels, drapes, and walls that can be used to tune the pit for varying programs. Finally, solutions to the dilemma of Bayreuth versus Bathtub pits will be discussed.</div>
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<EA>The design of orchestra pits for opera, ballet, and multiuse halls is examined from an historical perspective. The earliest orchestra pit designs for early European opera houses were open or bathtub'' pits holding few musicians on a single level. Pits remained similar until 1872 when Wagner's Bayreuth pit changed the musician/vocalist orientation by extending the pit below the stage edge in stepped tiers. Modern pit designs have varied from large bathtub'' pits (the Metropolitan Opera, San Francisco) to modified Bayreuth'' pits (Houston, Seattle, etc.) with varying degrees of success. Issues concerning musicians' comfort, loudness levels, and hearing loss are discussed along with ways to improve acoustics in the overhung area. Finishes and materials for walls, ceilings, and floors are discussed as well as adjustable acoustic panels, drapes, and walls that can be used to tune the pit for varying programs. Finally, solutions to the dilemma of Bayreuth versus Bathtub pits will be discussed.</EA>
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