Volume 7, Issue 1, January 2011
Index of content:
In Search of a New Paradigm: How Do Our Parameters and Measurement Techniques Constrain Approaches to Concert Hall Design?7(2011); http://dx.doi.org/10.1121/1.3576190View Description Hide Description
Concert hall design is known to be part art and part science. While the development of the science side of concert hall design has brought real and significant progress to the field especially over the last 50 years, the quest to reduce concert hall acoustics to a set of parameters has also narrowed our vision and range of enquiry from what is truly required to achieve excellent acoustics. In this article, we take a critical view of the current scientific paradigm for concert hall design, explore some of its shortcomings, and offer suggestions for new ways to approach this complex subject in a more holistic and multidisciplinary manner. Real progress in concert hall design will require not only building on the scientific understanding already achieved, but also making closer connections to the art forms being performed there.
7(2011); http://dx.doi.org/10.1121/1.3576191View Description Hide Description
The key to understanding musical acoustics lies in the extraordinary ability of the human ear and brain to extract a wealth of precise information from a complex and often chaotic sound field. A human ear has only about 3,500 sound‐sensing hair cells, each capable of firing no faster than 1000 times per second. They are attached to a frequency sensitive mechanical filter with a selectivity of about one part in five. Yet with this meager data we can tune instruments to one part in a thousand, choose to listen to any one of several simultaneous conversations in a noisy room (the cocktail party effect), or know which instrument played each note in a string quartet. With music and physics as our guide we can start to make sense of the processes going on in the brain's subconscious realm.
7(2011); http://dx.doi.org/10.1121/1.3576192View Description Hide Description
Creating a new home for America's largest church required a facility conversion of unprecedented scale. Over a period of 19 months, Houston's Compaq Center—a sports arena that had been home to the Rockets NBA Basketball team, Aeros hockey team, and other Houston sports legends—was transformed into Lakewood Church, a new 16,000‐seat worship center for its 47,000 weekly congregants.
7(2011); http://dx.doi.org/10.1121/1.3576193View Description Hide Description
This article is about Vern O. Knudsen—a pioneer and a giant who was an educator, researcher, administrator, facilitator, author, and mentor. Vern Knudsen, a founder of the Acoustical Society of America, was involved in many aspects of the field of acoustics.
7(2011); http://dx.doi.org/10.1121/1.3576194View Description Hide Description
Professional studio work is a subset of architectural acoustics that combines both art and science in the design of working rooms for music and film (video) production. These studios are not an end in themselves, nor even a place where the ultimate listener will hear music, but a step in the process of crafting an audio product. As such they may have design requirements that exceed those found in the ultimate listening environment, which may range from a living room, to a movie theater, or even to an automobile.