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Books on the topic 'Auditorium Acoustics'

Author: Grafiati

Published: 4 June 2021

Last updated: 20 February 2023

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1

Auditorium acoustics and architectural design. London: E & FN Spon, 1993.

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2

Auditorium acoustics and architectural design. 2nd ed. London: Taylor & Francis, 2010.

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3

Fuchs, Guillermo L. El auditorium como instrumento musical integrador. Córdoba, R.A: Facultad de Arquitectura y Urbanismo, Universidad Nacional de Córdoba, 1989.

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4

Subagio. Acoustic absorption of auditorium seating. Salford: University of Salford, 1986.

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5

Makrinenko, L. I. Acoustics of auditoriums in public buildings. Woodbury, NY: Published for the Acoustical Society of America through the American Institute of Physics, 1994.

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6

Wong, Lawdy Siu Shan. Auditorium acoustic modelling based on chaotic realisation. Oxford: Oxford Brookes University, 1999.

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7

Duncan, Templeton, ed. The architecture of sound: Designing places of assembly. London: Architectural Press, 1986.

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8

Davies, William Jonathan. The effects of seating on the acoustics of auditoria. Salford: University of Salford, 1992.

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9

Legoh, Finarya. Acoustic design and scale model testing of a multi-purpose auditorium. Salford: University of Salford, 1988.

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10

Forsyth, Michael. Auditoria: Designing for the performing arts. New York: Van Nostrand Reinhold, 1987.

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11

Forsyth, Michael. Auditoria: Designing for the performing arts. London: Mitchell, 1987.

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12

Auditoria: Designing for the performing arts. London: Mitchell, 1987.

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13

Barron, Michael. Auditorium Acoustics. Spon Press, 2003.

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14

Barron, Michael. Auditorium Acoustics and Architectural Design. Taylor & Francis Group, 2009.

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15

Barron, Michael. Auditorium Acoustics and Architectural Design. Taylor & Francis Group, 2009.

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16

Barron, Michael. Auditorium Acoustics and Architectural Design. Taylor & Francis Group, 2009.

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17

Barron, Michael. Auditorium Acoustics and Architectural Design. Spon Press, 2009. http://dx.doi.org/10.4324/9780203874226.

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18

Barron, Michael. Auditorium Acoustics and Architectural Design. Taylor & Francis Group, 2009.

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19

Barron, Michael. Auditorium Acoustics and Architectural Design, Second Edition. Taylor & Francis Group, 2009.

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20

Acoustics of Auditoriums. Franklin Classics, 2018.

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21

Watson, Floyd Rowe. Acoustics of Auditoriums. Franklin Classics, 2018.

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22

Watson, Floyd Rowe. Acoustics of Auditoriums. Franklin Classics Trade Press, 2018.

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23

Savage, Steven. Reflection. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199351411.003.0018.

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When I was asked to write about music and shape for this volume I immediately thought of the reverb programmes that I use to add ambience to individual tracks when I am mixing. Reverb presets often come in the form of representations of physical space. General categories might include stadiums, concert halls, churches, theatres, auditoriums, nightclubs, small rooms, etc. Today’s sampling reverbs, which can translate specific acoustical spaces into ambiences that can be used on any sound, include such presets as the Sydney Opera House, St Paul’s Cathedral or the Ryman Auditorium at The Grand Ole Opry, as well as less renowned, smaller spaces such as a closet, a tiled bathroom or the interior of a Ford Econoline van. Some programs simulate very specific types of spaces such as a ...

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24

Swallow, Dave. Live Audio: The Art of Mixing a Show. Taylor & Francis Group, 2017.

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25

Swallow, Dave. Live Audio: The Art of Mixing a Show. Taylor & Francis Group, 2021.

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26

Swallow, Dave. Live Audio: The Art of Mixing a Show. Taylor & Francis Group, 2012.

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27

Swallow, Dave. Live Audio: The Art of Mixing a Show. Taylor & Francis Group, 2012.

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28

Live Audio: The Art of Mixing a Show. Taylor & Francis Group, 2010.

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29

Swallow, Dave. Live Audio: The Art of Mixing a Show. Taylor & Francis Group, 2021.

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30

Swallow, Dave. Live Audio: The Art of Mixing a Show. Taylor & Francis Group, 2021.

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31

Swallow, Dave. Live Audio: The Art of Mixing a Show. Taylor & Francis Group, 2021.

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32

Swallow, Dave. Live Audio: The Art of Mixing a Show. Taylor & Francis Group, 2021.

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33

Swallow, Dave. Live Audio: The Art of Mixing a Show. Taylor & Francis Group, 2012.

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34

Swallow, Dave. Live Audio: The Art of Mixing a Show. Taylor & Francis Group, 2012.

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35

Toyota, Yasuhisa, Motoo Komoda, Daniel Beckmann, Marc Quiquerez, and Erik Bergal. Concert Halls by Nagata Acoustics: Thirty Years of Acoustical Design for Music Venues and Vineyard-Style Auditoria. Springer International Publishing AG, 2022.

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36

Concert Halls by Nagata Acoustics: Thirty Years of Acoustical Design for Music Venues and Vineyard-Style Auditoria. Springer International Publishing AG, 2021.

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37

Auditoria: Designing for the Performing Art. Van Nostrand Reinhold, 1987.

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38

Zur Nieden, Gesa. Symmetries in Spaces, Symmetries in Listening. Edited by Christian Thorau and Hansjakob Ziemer. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190466961.013.16.

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Based on the importance of the concept of symmetry in French sociological aesthetics circa 1900, this chapter analyzes the convergence of theaters, musical form, and musical understanding. The analysis focuses on architectural shape, audience response, and the musical repertoire in the new theaters built in Barcelona (1847), Paris (1862), and Rome (1880). While these theaters were fashioned after the baroque form of the “teatro all’italiana” that prevailed in Italy, France, and Spain during the late nineteenth century, they provided huge spaces accommodating a socially mixed audience within an architecturally symmetrical form. Music critics often aligned acoustic sound waves with actual visibility in the auditorium, and semicircular structures in the scenography on stage may have affected the reception of the musical performance. The newly built theaters arrived at a time when the “classical” music scene and a certain canon was developed, opposing the more “intellectual” audiences and repertories of contemporary music.

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39

Thomas, Edmund. Performance Space. Edited by Daniel S. Richter and William A. Johnson. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199837472.013.15.

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This chapter explores how public speakers of the second and third centuries ce, accustomed to extravagant physical demonstrations of their art, exploited the architectural spaces where they performed. Theaters, temples, and smaller roofed assembly buildings were all locations for oratorical performances and adapted to achieve stronger oral expression through sharper acoustics. As the demand for public speaking increased, halls were built specially, their materials chosen to enhance the voices of orators. With the vast wealth they accrued from their teaching and public speaking, “sophists” sponsored ambitious building projects, particularly gymnasia, which included spacious auditoria, as from the later second century the palaestra became an intellectual and cultural arena instead of an athletic space. Private houses too had lavishly decorated halls for public speaking, as both literary accounts and archaeological evidence attest. At Rome, the emperors’ projects, not only bath-gymnasia, but the imperial fora, were adapted to similar uses.

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40

Live Sound for Musicians. Hal Leonard, 1997.

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41

Trubitt, Rudy. Live Sound for Musicians. Leonard Corporation, Hal, 1997.

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