Abstract:

Architectural environments for symphonic performances can perhaps be described as one of the most complex problems in physical acoustics due to the multiplicity of sound source--path--receiver systems present in listening spaces. On the other hand, people performed and enjoyed listening to music in architectural and outdoor spaces long before the development of architectural acoustics as a scientific discipline and well before there were acoustical consultants. This paper describes one practitioner's historical perspective and analysis of the problem as it relates to public concert hall design and musical performance over the last several centuries and how the interrelationship between the two has actually fashioned the traditional symphonic environment. Based on this analysis, a methodology will be discussed to successfully replicate traditional symphonic environments utilizing psychoacoustic rather than geometric guidelines. The results of applying this methodology in a variety of building types over a period of 40 years, e.g., concert halls, recital halls, music pavillions, multiuse halls, etc., will be discussed. Both physical and electroacoustical solutions will be presented to support the author's original analytic premise.