Concert halls and opera houses: music, acoustics, and architecture

2004 ◽  
Vol 41 (08) ◽  
pp. 41-4446-41-4446
Keyword(s):  
Concert Halls ◽  
Music Acoustics ◽  
Opera Houses

Modelling of Scattering from Balcony Fronts

2002 ◽  
Vol 9 (3) ◽  
pp. 219-231
Author(s):  
T. M. Chan ◽  
W. M. To
Keyword(s):  
Computer Simulation ◽  
Ray Tracing ◽  
Diffuse Reflection ◽  
Sound Field ◽  
Direct Wave ◽  
Practice Experience ◽  
Concert Halls ◽  
Distinguished Group ◽  
Opera Houses

Balconies are normally used in large auditoria such as concert halls or opera houses, to increase seating capacity or to give better view for a distinguished group of the audience. When ray-tracing based computer models are applied to study the acoustical quality of these auditoria, the alteration of the sound field due to balcony fronts is normally unobservable, because of the relative small size of the balcony fronts in the auditorium. Furthermore, most diffuse reflection ray-tracing methods are not based on direct wave acoustics but on an approximation of the scattering effect. In practice, experience shows that balcony fronts give additional warmth to music. This effect is more prominent when singers perform in traditional horseshoe shaped opera houses with multi-levels balconies. This paper describes modelling of scattering from balcony fronts using a theoretical wave approach, in which the incident wave front is not plane but spherical. A computer simulation illustrates the scattering of sound that takes place when the wavefront impinges on the surface of the balcony fronts.

scholarly journals Workers’ access to Swedish opera houses and concert halls, 1898–2019

2021 ◽  
Author(s):  
Staffan Albinsson
Keyword(s):  
Low Income ◽  
Cultural Policy ◽  
Social Inclusion ◽  
Symphony Orchestra ◽  
Ticket Pricing ◽  
Concert Halls ◽  
High Level ◽  
In The Beginning ◽  
Ticket Prices ◽  
Opera Houses

AbstractIn this study ticket prices to Swedish opera houses and symphony orchestra concerts are compared to wages during the 1898–2019 period. Both wages and ticket prices have increased continuously. The same kind of policy objectives concerning social inclusion of disadvantaged groups that were established in the beginning of the twentieth century is still proclaimed. The most favourable ticket pricing policies for buyers were used in the decades around the first national Cultural Policy Act from 1974. The study shows that ticket price levels have risen thereafter to a level much less favourable for low-income workers. Managements do use some price discrimination tactics. However, they do it uniformly for all events. They now focus on the promotion of special, ‘popular music’-based events as a response to social inclusion directives. The idea is that attending such performances will make visitors interested in the normal repertoire, as well. The choice of high-level ticket prices for the traditional content means that the standard audience remains monocultural.

Acoustics of Concert Halls and Rooms

2019 ◽  
pp. 201-220
Author(s):  
Peter Townsend
Keyword(s):  
Musical Performances ◽  
Different Types ◽  
Concert Halls ◽  
Music Acoustics ◽  
The Way

Performance is merely the first step in the way we hear music. Acoustics of concert halls, churches, electronics and recording, or broadcasting all modify the original sounds, often quite dramatically. Even in the best auditoria no two seats will receive identical sounds. Buildings designed for different types of music will rarely perform well across a range of musical performances. Understanding this can help in the choice of seating. For music that is broadcast or played from recordings there are considerable changes from the electronics, recording, transmission, reception, home electronics, and acoustics. This chapter examines many possible situations and the attempts at optimization. Hearing differs considerably between people, and it changes with age and our level of concentration.

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