Orchestra pit acoustics: From Bayreuth to Broadway
Identifieur interne : 000C12 ( PascalFrancis/Curation ); précédent : 000C11; suivant : 000C13Orchestra 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.
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