OperaV1, PascalFrancis, Curation, bibRecord, 000004

Objective and subjective evaluations of twenty-three opera houses in Europe, Japan, and the Americas

Identifieur interne : 000004 ( PascalFrancis/Curation ); précédent : 000003; suivant : 000005

Objective and subjective evaluations of twenty-three opera houses in Europe, Japan, and the Americas

Auteurs : Takayuki Hidaka [Japon, États-Unis] ; Leo L. Beranek [Japon]

Source :

The Journal of the Acoustical Society of America [ 0001-4966 ] ; 2000-01.

RBID : Pascal:00-0020237

Descripteurs français

Pascal (Inist)
- 4355F, Etude expérimentale, Acoustique architecturale, Réverbération.

English descriptors

KwdEn :
- Architectural acoustics, Experimental study, Reverberation.

Abstract

The room acoustical parameters, reverberation time RT, early decay time EDT, clarity factor C₈₀, bass ratio BR, strength G, interaural cross-correlation coefficient IACC, and initial-time-delay gap ITDG [definitions in Hidaka , J. Acoust. Soc. Am. 107, 340-354 (2000) and Beranek, Concert and Opera Halls: How They Sound (Acoustical Society of America, New York, 1996)], were measured in 23 major opera houses under unoccupied conditions in 11 countries: Argentina, Austria, Czech, France, England, Germany, Hungary, Italy, Japan, The Netherlands, and the USA. Questionnaires containing rating scales on the acoustical quality of 24 opera houses were mailed to 67 conductors, 22 of whom responded. The objective measurements were analyzed for reliability and orthogonality, and were related to the subjective responses. Presented are (a) the rankings of 21 opera houses each rated by at least 6 conductors for acoustical quality as heard by them both in the audience areas and in the pit; (b) relations between objective room acoustical parameters and subjective ratings; (c) findings of the most important of the parameters for determining acoustical quality: RT (or EDT), G_M, ITDG, [1-IACC_E3], texture (appearance of reflectrograms in the first 80-100 ms after arrival of the direct sound), a lower limiting value for BR, and major concern for diffusion and avoidance of destructive characteristics (noise, vibration, echoes, focusing, etc.); (d) the differences between average audience levels with and without enclosed stage sets; and (e) the differences between average levels in audience areas for sounds from the stage and from the pit. © 2000 Acoustical Society of America.

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A08	`01`	`1`	`ENG`	`@1 Objective and subjective evaluations of twenty-three opera houses in Europe, Japan, and the Americas`
A11	`01`	`1`		`@1 HIDAKA (Takayuki)`
A11	`02`	`1`		`@1 BERANEK (Leo L.)`
A14	`01`			`@1 Takenaka R&D Institute, 1-5-1, Otsuka, Inzai, Chiba 270-1395, Japan @Z 1 aut. @Z 2 aut.`
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A64	`01`	`1`		`@0 The Journal of the Acoustical Society of America`
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C01	`01`		`ENG`	@0 The room acoustical parameters, reverberation time RT, early decay time EDT, clarity factor C₈₀, bass ratio BR, strength G, interaural cross-correlation coefficient IACC, and initial-time-delay gap ITDG [definitions in Hidaka <et al.>, J. Acoust. Soc. Am. 107, 340-354 (2000) and Beranek, Concert and Opera Halls: How They Sound (Acoustical Society of America, New York, 1996)], were measured in 23 major opera houses under unoccupied conditions in 11 countries: Argentina, Austria, Czech, France, England, Germany, Hungary, Italy, Japan, The Netherlands, and the USA. Questionnaires containing rating scales on the acoustical quality of 24 opera houses were mailed to 67 conductors, 22 of whom responded. The objective measurements were analyzed for reliability and orthogonality, and were related to the subjective responses. Presented are (a) the rankings of 21 opera houses each rated by at least 6 conductors for acoustical quality as heard by them both in the audience areas and in the pit; (b) relations between objective room acoustical parameters and subjective ratings; (c) findings of the most important of the parameters for determining acoustical quality: RT (or EDT), G_M, ITDG, [1-IACC_E3], texture (appearance of reflectrograms in the first 80-100 ms after arrival of the direct sound), a lower limiting value for BR, and major concern for diffusion and avoidance of destructive characteristics (noise, vibration, echoes, focusing, etc.); (d) the differences between average audience levels with and without enclosed stage sets; and (e) the differences between average levels in audience areas for sounds from the stage and from the pit. © 2000 Acoustical Society of America.
C02	`01`	`X`		`@0 001B40C55`
C03	`01`	`3`	`FRE`	`@0 4355F @2 PAC @4 INC`
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C03	`02`	`3`	`ENG`	`@0 Experimental study`
C03	`03`	`3`	`FRE`	`@0 Acoustique architecturale`
C03	`03`	`3`	`ENG`	`@0 Architectural acoustics`
C03	`04`	`3`	`FRE`	`@0 Réverbération`
C03	`04`	`3`	`ENG`	`@0 Reverberation`
N21				`@1 010`
N47	`01`	`1`		`@0 0001M000524`

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Le document en format XML

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Objective and subjective evaluations of twenty-three opera houses in Europe, Japan, and the Americas

Objective and subjective evaluations of twenty-three opera houses in Europe, Japan, and the Americas

Source :

Descripteurs français

English descriptors

Abstract

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

Links to Exploration step

Le document en format XML

Pour manipuler ce document sous Unix (Dilib)

Pour mettre un lien sur cette page dans le réseau Wicri