The development of room acoustical demands on operas within the last 50 years
Identifieur interne : 000860 ( PascalFrancis/Corpus ); précédent : 000859; suivant : 000861The development of room acoustical demands on operas within the last 50 years
Auteurs : Gerhard Muller ; Helmut A. MullerSource :
- The Journal of the Acoustical Society of America [ 0001-4966 ] ; 1998-05.
Descripteurs français
- Pascal (Inist)
- 4390.
Abstract
After World War II, many destroyed operas in Europe required reconstruction. Since the period of the royal operas was past, architects tried to develop new shapes based upon the new social philosophy. For the acoustical planning, this has led to the following goals: (1) equal acoustical quality in all areas of the auditoria, (2) high speech intelligibility, and (3) uniform sound transmission from the pit and the stage to the audience. The deducted measures were the following: (1) application of an arenalike seating arrangement of the public to expose everybody to a strong direct sound, (2) low reverberation, and (3) reflection of sound energy to compensate the increasing distance of the listeners from the sound sources. These principles have led to the realization of slightly fan-shaped rooms with a relatively small volume or additional sound-absorbing claddings. Surprisingly, these opera halls have been quoted worse than the old ones, by the musicians and the audience. The reason for the lower reputation of the operas, designed applying the rules of the 1950s, will be explained with the help of two examples in which improvements have been realized afterwards. The measured relevant room acoustical data will be presented and the differences discussed.
Notice en format standard (ISO 2709)
Pour connaître la documentation sur le format Inist Standard.
| pA |
|
|---|
Format Inist (serveur)
| NO : | PASCAL 98-0257568 AIP |
|---|---|
| ET : | The development of room acoustical demands on operas within the last 50 years |
| AU : | MULLER (Gerhard); MULLER (Helmut A.) |
| AF : | Muller-BBM GmbH, Robert-Koch-Str. 11, D-82152 Planegg, Germany (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; Pp. 2783-2784 |
| LA : | Anglais |
| EA : | After World War II, many destroyed operas in Europe required reconstruction. Since the period of the royal operas was past, architects tried to develop new shapes based upon the new social philosophy. For the acoustical planning, this has led to the following goals: (1) equal acoustical quality in all areas of the auditoria, (2) high speech intelligibility, and (3) uniform sound transmission from the pit and the stage to the audience. The deducted measures were the following: (1) application of an arenalike seating arrangement of the public to expose everybody to a strong direct sound, (2) low reverberation, and (3) reflection of sound energy to compensate the increasing distance of the listeners from the sound sources. These principles have led to the realization of slightly fan-shaped rooms with a relatively small volume or additional sound-absorbing claddings. Surprisingly, these opera halls have been quoted worse than the old ones, by the musicians and the audience. The reason for the lower reputation of the operas, designed applying the rules of the 1950s, will be explained with the help of two examples in which improvements have been realized afterwards. The measured relevant room acoustical data will be presented and the differences discussed. |
| CC : | 001B40C |
| FD : | 4390 |
| LO : | INIST-129 |
| ID : | 98-0257568 |
Links to Exploration step
Pascal:98-0257568Le document en format XML
<record><TEI><teiHeader><fileDesc><titleStmt><title xml:lang="en" level="a">The development of room acoustical demands on operas within the last 50 years</title><author><name sortKey="Muller, Gerhard" sort="Muller, Gerhard" uniqKey="Muller G" first="Gerhard" last="Muller">Gerhard Muller</name></author><author><name sortKey="Muller, Helmut A" sort="Muller, Helmut A" uniqKey="Muller H" first="Helmut A." last="Muller">Helmut A. Muller</name></author></titleStmt><publicationStmt><idno type="wicri:source">INIST</idno><idno type="inist">98-0257568</idno><date when="1998-05">1998-05</date><idno type="stanalyst">PASCAL 98-0257568 AIP</idno><idno type="RBID">Pascal:98-0257568</idno><idno type="wicri:Area/PascalFrancis/Corpus">000860</idno></publicationStmt><sourceDesc><biblStruct><analytic><title xml:lang="en" level="a">The development of room acoustical demands on operas within the last 50 years</title><author><name sortKey="Muller, Gerhard" sort="Muller, Gerhard" uniqKey="Muller G" first="Gerhard" last="Muller">Gerhard Muller</name></author><author><name sortKey="Muller, Helmut A" sort="Muller, Helmut A" uniqKey="Muller H" first="Helmut A." last="Muller">Helmut A. Muller</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">After World War II, many destroyed operas in Europe required reconstruction. Since the period of the royal operas was past, architects tried to develop new shapes based upon the new social philosophy. For the acoustical planning, this has led to the following goals: (1) equal acoustical quality in all areas of the auditoria, (2) high speech intelligibility, and (3) uniform sound transmission from the pit and the stage to the audience. The deducted measures were the following: (1) application of an arenalike seating arrangement of the public to expose everybody to a strong direct sound, (2) low reverberation, and (3) reflection of sound energy to compensate the increasing distance of the listeners from the sound sources. These principles have led to the realization of slightly fan-shaped rooms with a relatively small volume or additional sound-absorbing claddings. Surprisingly, these opera halls have been quoted worse than the old ones, by the musicians and the audience. The reason for the lower reputation of the operas, designed applying the rules of the 1950s, will be explained with the help of two examples in which improvements have been realized afterwards. The measured relevant room acoustical data will be presented and the differences discussed.</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>The development of room acoustical demands on operas within the last 50 years</s1></fA08><fA11 i1="01" i2="1"><s1>MULLER (Gerhard)</s1></fA11><fA11 i1="02" i2="1"><s1>MULLER (Helmut A.)</s1></fA11><fA14 i1="01"><s1>Muller-BBM GmbH, Robert-Koch-Str. 11, D-82152 Planegg, Germany</s1><sZ>0 aut.</sZ></fA14><fA20><s1>2783-2784</s1></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>98-0257568</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>After World War II, many destroyed operas in Europe required reconstruction. Since the period of the royal operas was past, architects tried to develop new shapes based upon the new social philosophy. For the acoustical planning, this has led to the following goals: (1) equal acoustical quality in all areas of the auditoria, (2) high speech intelligibility, and (3) uniform sound transmission from the pit and the stage to the audience. The deducted measures were the following: (1) application of an arenalike seating arrangement of the public to expose everybody to a strong direct sound, (2) low reverberation, and (3) reflection of sound energy to compensate the increasing distance of the listeners from the sound sources. These principles have led to the realization of slightly fan-shaped rooms with a relatively small volume or additional sound-absorbing claddings. Surprisingly, these opera halls have been quoted worse than the old ones, by the musicians and the audience. The reason for the lower reputation of the operas, designed applying the rules of the 1950s, will be explained with the help of two examples in which improvements have been realized afterwards. The measured relevant room acoustical data will be presented and the differences discussed.</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>9808M001419</s0></fN47></pA></standard><server><NO>PASCAL 98-0257568 AIP</NO><ET>The development of room acoustical demands on operas within the last 50 years</ET><AU>MULLER (Gerhard); MULLER (Helmut A.)</AU><AF>Muller-BBM GmbH, Robert-Koch-Str. 11, D-82152 Planegg, Germany (0 aut.)</AF><DT>Publication en série; Résumé; Niveau analytique</DT><SO>The Journal of the Acoustical Society of America; ISSN 0001-4966; Coden JASMAN; Etats-Unis; Da. 1998-05; Vol. 103; No. 5; Pp. 2783-2784</SO><LA>Anglais</LA><EA>After World War II, many destroyed operas in Europe required reconstruction. Since the period of the royal operas was past, architects tried to develop new shapes based upon the new social philosophy. For the acoustical planning, this has led to the following goals: (1) equal acoustical quality in all areas of the auditoria, (2) high speech intelligibility, and (3) uniform sound transmission from the pit and the stage to the audience. The deducted measures were the following: (1) application of an arenalike seating arrangement of the public to expose everybody to a strong direct sound, (2) low reverberation, and (3) reflection of sound energy to compensate the increasing distance of the listeners from the sound sources. These principles have led to the realization of slightly fan-shaped rooms with a relatively small volume or additional sound-absorbing claddings. Surprisingly, these opera halls have been quoted worse than the old ones, by the musicians and the audience. The reason for the lower reputation of the operas, designed applying the rules of the 1950s, will be explained with the help of two examples in which improvements have been realized afterwards. The measured relevant room acoustical data will be presented and the differences discussed.</EA><CC>001B40C</CC><FD>4390</FD><LO>INIST-129</LO><ID>98-0257568</ID></server></inist></record>Pour manipuler ce document sous Unix (Dilib)
EXPLOR_STEP=$WICRI_ROOT/Wicri/Musique/explor/OperaV1/Data/PascalFrancis/Corpus
HfdSelect -h $EXPLOR_STEP/biblio.hfd -nk 000860 | SxmlIndent | more
Ou
HfdSelect -h $EXPLOR_AREA/Data/PascalFrancis/Corpus/biblio.hfd -nk 000860 | SxmlIndent | more
Pour mettre un lien sur cette page dans le réseau Wicri
{{Explor lien
|wiki= Wicri/Musique
|area= OperaV1
|flux= PascalFrancis
|étape= Corpus
|type= RBID
|clé= Pascal:98-0257568
|texte= The development of room acoustical demands on operas within the last 50 years
}}
| This area was generated with Dilib version V0.6.21. |  |