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Objective and subjective evaluations of twenty-three opera houses in Europe, Japan, and the Americas

Identifieur interne : 000748 ( PascalFrancis/Corpus ); précédent : 000747; suivant : 000749

Objective and subjective evaluations of twenty-three opera houses in Europe, Japan, and the Americas

Auteurs : Takayuki Hidaka ; Leo L. Beranek

Source :

RBID : Pascal:00-0020237

Descripteurs français

English descriptors

Abstract

The room acoustical parameters, reverberation time RT, early decay time EDT, clarity factor C80, bass ratio BR, strength G, interaural cross-correlation coefficient IACC, and initial-time-delay gap ITDG [definitions in Hidaka , J. Acoust. Soc. Am. 107, 340-354 (2000) and Beranek, Concert and Opera Halls: How They Sound (Acoustical Society of America, New York, 1996)], were measured in 23 major opera houses under unoccupied conditions in 11 countries: Argentina, Austria, Czech, France, England, Germany, Hungary, Italy, Japan, The Netherlands, and the USA. Questionnaires containing rating scales on the acoustical quality of 24 opera houses were mailed to 67 conductors, 22 of whom responded. The objective measurements were analyzed for reliability and orthogonality, and were related to the subjective responses. Presented are (a) the rankings of 21 opera houses each rated by at least 6 conductors for acoustical quality as heard by them both in the audience areas and in the pit; (b) relations between objective room acoustical parameters and subjective ratings; (c) findings of the most important of the parameters for determining acoustical quality: RT (or EDT), GM, ITDG, [1-IACCE3], texture (appearance of reflectrograms in the first 80-100 ms after arrival of the direct sound), a lower limiting value for BR, and major concern for diffusion and avoidance of destructive characteristics (noise, vibration, echoes, focusing, etc.); (d) the differences between average audience levels with and without enclosed stage sets; and (e) the differences between average levels in audience areas for sounds from the stage and from the pit. © 2000 Acoustical Society of America.

Notice en format standard (ISO 2709)

Pour connaître la documentation sur le format Inist Standard.

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A08 01  1  ENG  @1 Objective and subjective evaluations of twenty-three opera houses in Europe, Japan, and the Americas
A11 01  1    @1 HIDAKA (Takayuki)
A11 02  1    @1 BERANEK (Leo L.)
A14 01      @1 Takenaka R&D Institute, 1-5-1, Otsuka, Inzai, Chiba 270-1395, Japan @Z 1 aut. @Z 2 aut.
A14 02      @1 975 Memorial Drive, #804, Cambridge, Massachusetts 02138
A20       @1 368-383
A21       @1 2000-01
A23 01      @0 ENG
A43 01      @1 INIST @2 129
A44       @0 8100 @1 © 2000 American Institute of Physics. All rights reserved.
A47 01  1    @0 00-0020237
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A61       @0 A
A64 01  1    @0 The Journal of the Acoustical Society of America
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C01 01    ENG  @0 The room acoustical parameters, reverberation time RT, early decay time EDT, clarity factor C80, bass ratio BR, strength G, interaural cross-correlation coefficient IACC, and initial-time-delay gap ITDG [definitions in Hidaka <et al.>, J. Acoust. Soc. Am. 107, 340-354 (2000) and Beranek, Concert and Opera Halls: How They Sound (Acoustical Society of America, New York, 1996)], were measured in 23 major opera houses under unoccupied conditions in 11 countries: Argentina, Austria, Czech, France, England, Germany, Hungary, Italy, Japan, The Netherlands, and the USA. Questionnaires containing rating scales on the acoustical quality of 24 opera houses were mailed to 67 conductors, 22 of whom responded. The objective measurements were analyzed for reliability and orthogonality, and were related to the subjective responses. Presented are (a) the rankings of 21 opera houses each rated by at least 6 conductors for acoustical quality as heard by them both in the audience areas and in the pit; (b) relations between objective room acoustical parameters and subjective ratings; (c) findings of the most important of the parameters for determining acoustical quality: RT (or EDT), GM, ITDG, [1-IACCE3], texture (appearance of reflectrograms in the first 80-100 ms after arrival of the direct sound), a lower limiting value for BR, and major concern for diffusion and avoidance of destructive characteristics (noise, vibration, echoes, focusing, etc.); (d) the differences between average audience levels with and without enclosed stage sets; and (e) the differences between average levels in audience areas for sounds from the stage and from the pit. © 2000 Acoustical Society of America.
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C03 04  3  FRE  @0 Réverbération
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Format Inist (serveur)

NO : PASCAL 00-0020237 AIP
ET : Objective and subjective evaluations of twenty-three opera houses in Europe, Japan, and the Americas
AU : HIDAKA (Takayuki); BERANEK (Leo L.)
AF : Takenaka R&D Institute, 1-5-1, Otsuka, Inzai, Chiba 270-1395, Japan (1 aut., 2 aut.); 975 Memorial Drive, #804, Cambridge, Massachusetts 02138
DT : Publication en série; Niveau analytique
SO : The Journal of the Acoustical Society of America; ISSN 0001-4966; Coden JASMAN; Etats-Unis; Da. 2000-01; Vol. 107; No. 1; Pp. 368-383
LA : Anglais
EA : The room acoustical parameters, reverberation time RT, early decay time EDT, clarity factor C80, bass ratio BR, strength G, interaural cross-correlation coefficient IACC, and initial-time-delay gap ITDG [definitions in Hidaka <et al.>, J. Acoust. Soc. Am. 107, 340-354 (2000) and Beranek, Concert and Opera Halls: How They Sound (Acoustical Society of America, New York, 1996)], were measured in 23 major opera houses under unoccupied conditions in 11 countries: Argentina, Austria, Czech, France, England, Germany, Hungary, Italy, Japan, The Netherlands, and the USA. Questionnaires containing rating scales on the acoustical quality of 24 opera houses were mailed to 67 conductors, 22 of whom responded. The objective measurements were analyzed for reliability and orthogonality, and were related to the subjective responses. Presented are (a) the rankings of 21 opera houses each rated by at least 6 conductors for acoustical quality as heard by them both in the audience areas and in the pit; (b) relations between objective room acoustical parameters and subjective ratings; (c) findings of the most important of the parameters for determining acoustical quality: RT (or EDT), GM, ITDG, [1-IACCE3], texture (appearance of reflectrograms in the first 80-100 ms after arrival of the direct sound), a lower limiting value for BR, and major concern for diffusion and avoidance of destructive characteristics (noise, vibration, echoes, focusing, etc.); (d) the differences between average audience levels with and without enclosed stage sets; and (e) the differences between average levels in audience areas for sounds from the stage and from the pit. © 2000 Acoustical Society of America.
CC : 001B40C55
FD : 4355F; Etude expérimentale; Acoustique architecturale; Réverbération
ED : Experimental study; Architectural acoustics; Reverberation
LO : INIST-129
ID : 00-0020237

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