Page 37 - Spring 2019
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Figure 5. Screenshot from wuve—lmsed simulation ofsound propagation in the Experimental Media and Performing Arts Center Concert
Hall, Troy, N1/.
proximation for asymptotically high frequencies, when the References
wavelength of sound is much smaller than the di.rnensions  
of room surfaces but not for low frequencies or wave behav- B‘“"“">M- 9971)-The 5“l’lee'-We efie€'3°ffim ’efle“3°‘“ ineenee“ hens? The
. .. . . . ne r nsaumouunaniuun 
h  t W b d  edfo latemlraflexrtin I 111 f5 d dvlrrti 15(4) 475494
1°“ 5"“ “S ‘ “5‘°“ 3“ 1 C ‘°“‘ 3"‘ “Se ’“° ‘"3 Barm11,M.,ar1dMa1sha.l.L H.(1981).spatialirnpressionclueto earlylateral
requires ePP1'°Xl'me"m$ ‘he 5°1“‘i°fl ‘e the Wave equation. reflections in concert halls: The deriyation ofa physical nieasure. Ioumal
typically usi.ng finite volume, finite element, or boundary el- vfsmmd and Wmltilm 77(2). 211-232-
ernent methods. These methods have existed for many years, Bmuet’ A“ mm)‘ _"“"_ acfjuslical Pammmfs “d,V'S“ah""'°‘_‘ ‘?d'"'q““
_ _ _ _ _ _ to analyse t.hespat1ald1str1but.1on otsoundininusic spaces. BuizdingAcous.
5"‘ C°mP“‘e“°fle1 e°mP1eX1W hes llmfled W1de5P1'e“d “Se '1‘ tics 1s(3-4), 329-347. https://doi.o1'g/10.1260/135l-010X.18.3-4.329.
concert hall acoustical design. Figure 5 shows a screenshot Beranek,LL. (1962).Musi'c, Acoustiu, anti./trdtitectilre. John Wleystsons,
from a wave-based si.rnulation, modeled as part of a research NeWe‘l{:’k ( ) as d Th d
. . . . . . . _ Beran L. 1.. 1996 . Concert Ha an Opera Houses: I-low ey soun .
effort t° hghhgh‘ "5 Pmenual “id” m Conceri hall “mus American I.1-1st.itute of Physics for the Acoustical society of America,
t1cs(Hochgra.f, 2015). Byharnessmg the computing power of woodbum Ny_
parallelized finite-volume simulations over multiple cloud- Beranek.LL. (20o4).CancertHulls and Opera Houses:Music,Acaustics, and
based graphics-processing units (GPUS), wave-based mod- A’‘hi''‘"‘"- 2”‘ “L SP’i"5“'V“’l"$>N°“’ Y°’k
E]. b  1   d _  f Beranek, L. L. (2016). Concert hall acoustics: Recent findings.

‘"3 may “mm” W‘ C V “V “ C ““ C°“‘P“‘““°“ V 3 ' The Ioumtzl of the Acoustical society ojAmericll 139, 1548-1556.
ficient very soon, allowing acousticians to test their designs impe,//dnimg/io_iigi/i_4g447g7_
with more accuracy and reliability (flamflton and Bilbao, Beraneka L. L, Grade, A. C., Bamucl, A., Kirkegaard, L, Marshall, H., and
2018)‘ Toyota, Y. (2011). concert hall desigi-1—present practices. BuiL1ingAcous-

tics 1s(3-4), 159-190. (This is a condensation of presentations at a special
An auralization will never replace the real experience of lis- 5e“‘°"°n€°“€e“he“eC°“5'-‘Ce “(die1meme'-‘°"e15YmP°*““m°nR°°m
tenin to music in a concert hall because it does not enable Ac°“Sfi€S’Melb°“me’A“smfia’ A“g‘m29'31’2°m')

_ 3 _ _ _ _ _ _ Blauert, 1. (2019). Assessing “quality ofthe acoustics” at large. Proceeding:
d"eC‘v engegmg C°mm“'“Ce“°n between m“5lCl3fl5 end 115' afthe Institute ajAm1lstim:Auditarium Acoustics, Hamburg, Germany, oc-
teners. As a musician and frequent audience member myself, tuber 4-6, 2018.

I look forward to more opportunities ir1 the future to draw B )A S. (1990).AudifI")’5ee"eA""b"i‘- The MIT P”“- C““l”idEe-
f’°‘“ me" "31 1i5‘°“L“3 expefiences “mi ‘° "56 ““'“1i“‘i°“ Green, 12., and Kahle, 13. (2018). Dynamic spatial responsiveness in concert
as a research and design tool to support innovative, “exce1- halls. Proceedings ofthe Institute ojAc1mstics:Auditari1lm Acoustics, Ham-
ient” design‘ burg, Germany, October 4-6, 2018.
Griesingex, D. (1997). The psychoacoustjcs of apparent source width, spa-
‘ d envelopn-1e1-it in performance spaces. Acta Acustica united
Anknawledgmenlze  83
(4), 721-731.
I thank Alban Bassuet, Timothy Foulkes, Eckhard Kahle, Griesinger, 11 (2o11)_ -nie xelafionshjp between audience engagement and
Scott Pfeifler, Rein Pi.rn, Paul Scarbrough, and Robert Wolff ‘he “W-“Y1°Pe1'€‘e3Vei7i‘€lI.Limb_re, azimuth and enveloinmentofmiflfiinle
for sharing their candid thoughts in interviews on concert    :;T"‘:;_'l3f3A£°”;g“6’2A"d""""m A"""m”‘
hen ee°“5‘iee1 eeeigfl I em 3150 eepeeiell)’ grateful to lvmh Haan, c’. and lericlze, E (1)997): An evaljifation or the importance of
Sacks and Ben Markham for their feedback and mentorship. surface diffusivity in concert halls. Applied Acoustics 51(1), 53 -69.
Spring 2019 | AA:euII:|I:l1'ndey | :-15








































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