No data available.
Please log in to see this content.
You have no subscription access to this content.
No metrics data to plot.
The attempt to load metrics for this article has failed.
The attempt to plot a graph for these metrics has failed.
The full text of this article is not currently available.
Concert hall acoustics: Recent findingsa)
1. L. L. Beranek, Concert Halls and Opera Houses: Music, Acoustics and Architecture ( Springer, New York, 2004).
2. L. L. Beranek, “ Subjective rank-orderings and acoustical measurements for fifty-eight concert halls,” Acta Acust. Acust. 89, 494–508 (2003).
5. T. Lokki, J. Patynen, A. Kuusinen, and S. Tervo, “ Disentangling preference ratings of concert hall acoustics using subjective sensory profiles,” J. Acoust. Soc. Am. 132, 3148–3161 (2012).
6. D. Griesinger, “ What is clarity and how can it be measured?,” J. Acoust. Soc. Am. 133, 3224–3232 (2013); ICA 2013 Congress, Montreal, June 6–7.
7. T. Lokki (private communication, 2015).
9. A. Haapaniemi and T. Lokki, “ Identifying concert halls from source presence vs room presence,” J. Acoust. Soc. Am. 135, EL311–EL317 (2014).
10. J. Pätynen, S. Tervo, P. W. Robinson, and T. Lokki, “ Concert halls with strong lateral reflections enhance musical dynamics,” Proc. Natl. Acad. Sci. U.S.A. 111, 4409–4414 (2014).
13. L. L. Beranek, Concert Halls and Opera Houses: Music, Acoustics and Architecture ( Springer, New York, 2004). BQI is defined on p. 616, and its effectiveness in predicting the subjective rank ordering of concert halls is given on pp. 508 and 509. J. Patynen and T. Lokki, “Rectangular concert halls increase the emotional impact of music,” conclude that G and BQI are the highest positive coefficients associated with subjective impact.
14. T. Lokki, “ Throw away the [International acoustics] standard: Your two ears work better,” in International Symposium on Room Acoustics, Toronto, Canada (June 10, 2013).
15. L. Kirkegaard, “ The uncharted seas of acoustic parameters,” Build. Acoust. 18, 72–76 (2011).
16. L. L. Beranek, Concert Halls and Opera Houses ( Springer, New York, 2004), 104 pp.
17. Y. Jurkiewicz, T. Wulfrank, and E. Kahle, “ How far should the geometry of a concert hall be optimized?,” in International Symposium on Room Acoustics, Toronto, Canada (June 10, 2013) and
17. Y. Jurkiewicz, T. Wulfrank, and E. Kahle, “ Architectural shape and early acoustic efficiency in concert halls (L),” J. Acoust. Soc. Am. 132, 1253–1256 (2012).
21. A. C. Gade, “ The influence of basic design variables on the acoustics of concert halls; New results derived from analyzing a large number of existing halls,” Proc. Inst. Acoust. 19(3), 95–102 (1997).
22. T. Hidaka, “ A comparison of acoustical quality in concert halls as related to hall shapes,” in 168th Meeting of the Acoustical Society of America, Indianapolis, Indiana (October 27–31, 2014).
23. Y. Toyota, K. Oguchi, and M. Nagata, “ A study on the characteristics of early reflections in concert halls,” J. Acoust. Soc. Am. 84, S130 (1988).
25.T. Hidaka (private communication, 2016).
26. T. Hidaka and N. Nishihara, “ Objective evaluation of chamber-music halls in Europe and Japan,” J. Acoust. Soc. Am. 116, 357–372 (2004).
27. J. S. Bradley and G. A. Soulodre, “ The influence of late arriving energy on spatial impression,” J. Acoust. Soc. Am. 97, 2263–2271 (1995).
Article metrics loading...
There is no abstract available for this article.
Full text loading...
Most read this month