Boxes and sound quality in an italian opera house
Identifieur interne :
000033 ( PascalFrancis/Curation );
précédent :
000032;
suivant :
000034
Boxes and sound quality in an italian opera house
Auteurs : A. Cocchi [
Italie] ;
M. Garai [
Italie] ;
C. Tavernelli [
Italie]
Source :
-
Journal of sound and vibration [ 0022-460X ] ; 2000.
RBID : Pascal:00-0263115
Descripteurs français
- Pascal (Inist)
- Acoustique,
Méthode mesure,
Acoustique architecturale,
Source sonore,
Qualité sonore,
Absorption acoustique,
Opéra bâtiment,
Italie,
Réponse impulsion,
Simulation ordinateur,
Modélisation,
Temps réverbération,
Etude expérimentale,
Corrélation croisée,
Niveau puissance acoustique,
4355.
- Wicri :
English descriptors
- KwdEn :
- Acoustic absorption,
Acoustics,
Architectural acoustics,
Computer simulation,
Cross correlation,
Experimental study,
Italy,
Measurement method,
Modeling,
Opera(building),
Pulse response,
Reverberation time,
Sound power level,
Sound quality,
Sound source.
Abstract
The "Teatro Comunale" (City Theatre) in Bologna is an Italian opera house of the 18th century, designed by the famous architect Antonio Galli Bibiena. Largely built in masonry, it has been only partially restored and altered several times, but never destroyed and rebuilt. The study of its acoustics, while interesting for itself, offers the opportunity to investigate the role of the boxes, which constitute the most evident characteristic of Italian opera houses. The study was carried on at first by measurements, acquiring binaural impulse responses in the stalls and in the boxes, and then by computer simulation, modelling also some changes which cannot be done in the real hall. The measurements revealed clear differences between the listening quality in the boxes and in the stalls, especially regarding ITDG, clarity and IACC. Computer simulations show how the sound field in the historical theatre could be if the sound absorption of the boxes were changed, adding some velvet curtains, as was done in ancient times, and clarify the effects of the cavities which constitutes the boxes.
| pA |
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| A02 | 01 | | | @0 JSVIAG |
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| A03 | | 1 | | @0 J. sound vib. |
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| A05 | | | | @2 232 |
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| A06 | | | | @2 1 |
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| A08 | 01 | 1 | ENG | @1 Boxes and sound quality in an italian opera house |
|---|
| A09 | 01 | 1 | ENG | @1 Workshop on opera house acoustic, Seattle, June 1998 |
|---|
| A11 | 01 | 1 | | @1 COCCHI (A.) |
|---|
| A11 | 02 | 1 | | @1 GARAI (M.) |
|---|
| A11 | 03 | 1 | | @1 TAVERNELLI (C.) |
|---|
| A14 | 01 | | | @1 DIENCA, University of Bologna, riale Risorgimento 2 @2 40136 Bologna @3 ITA @Z 1 aut. @Z 2 aut. @Z 3 aut. |
|---|
| A18 | 01 | 1 | | @1 Interuniversity Centre for Acoustics and Musical Research @3 ITA @9 patr. |
|---|
| A18 | 02 | 1 | | @1 Music and Concert Hall Acoustics @3 JPN @9 patr. |
|---|
| A18 | 03 | 1 | | @1 ASA. Technical Committee of Architectural Acoustics @3 USA @9 patr. |
|---|
| A20 | | | | @1 171-191 |
|---|
| A21 | | | | @1 2000 |
|---|
| A23 | 01 | | | @0 ENG |
|---|
| A43 | 01 | | | @1 INIST @2 11530 @5 354000087541380140 |
|---|
| A44 | | | | @0 0000 @1 © 2000 INIST-CNRS. All rights reserved. |
|---|
| A45 | | | | @0 12 ref. |
|---|
| A47 | 01 | 1 | | @0 00-0263115 |
|---|
| A60 | | | | @1 P @2 C |
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| A61 | | | | @0 A |
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| A64 | 01 | 1 | | @0 Journal of sound and vibration |
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| A66 | 01 | | | @0 GBR |
|---|
| C01 | 01 | | ENG | @0 The "Teatro Comunale" (City Theatre) in Bologna is an Italian opera house of the 18th century, designed by the famous architect Antonio Galli Bibiena. Largely built in masonry, it has been only partially restored and altered several times, but never destroyed and rebuilt. The study of its acoustics, while interesting for itself, offers the opportunity to investigate the role of the boxes, which constitute the most evident characteristic of Italian opera houses. The study was carried on at first by measurements, acquiring binaural impulse responses in the stalls and in the boxes, and then by computer simulation, modelling also some changes which cannot be done in the real hall. The measurements revealed clear differences between the listening quality in the boxes and in the stalls, especially regarding ITDG, clarity and IACC. Computer simulations show how the sound field in the historical theatre could be if the sound absorption of the boxes were changed, adding some velvet curtains, as was done in ancient times, and clarify the effects of the cavities which constitutes the boxes. |
|---|
| C02 | 01 | X | | @0 001B40C55 |
|---|
| C03 | 01 | X | FRE | @0 Acoustique @5 01 |
|---|
| C03 | 01 | X | ENG | @0 Acoustics @5 01 |
|---|
| C03 | 01 | X | SPA | @0 Acústica @5 01 |
|---|
| C03 | 02 | X | FRE | @0 Méthode mesure @5 02 |
|---|
| C03 | 02 | X | ENG | @0 Measurement method @5 02 |
|---|
| C03 | 02 | X | SPA | @0 Método medida @5 02 |
|---|
| C03 | 03 | X | FRE | @0 Acoustique architecturale @5 03 |
|---|
| C03 | 03 | X | ENG | @0 Architectural acoustics @5 03 |
|---|
| C03 | 03 | X | SPA | @0 Acústica arquitectural @5 03 |
|---|
| C03 | 04 | X | FRE | @0 Source sonore @5 04 |
|---|
| C03 | 04 | X | ENG | @0 Sound source @5 04 |
|---|
| C03 | 04 | X | SPA | @0 Fuente sonora @5 04 |
|---|
| C03 | 05 | X | FRE | @0 Qualité sonore @5 05 |
|---|
| C03 | 05 | X | ENG | @0 Sound quality @5 05 |
|---|
| C03 | 05 | X | SPA | @0 Calidad sonora @5 05 |
|---|
| C03 | 06 | X | FRE | @0 Absorption acoustique @5 06 |
|---|
| C03 | 06 | X | ENG | @0 Acoustic absorption @5 06 |
|---|
| C03 | 06 | X | SPA | @0 Absorción acústica @5 06 |
|---|
| C03 | 07 | X | FRE | @0 Opéra bâtiment @5 07 |
|---|
| C03 | 07 | X | ENG | @0 Opera(building) @5 07 |
|---|
| C03 | 07 | X | SPA | @0 Ópera(edificio) @5 07 |
|---|
| C03 | 08 | X | FRE | @0 Italie @2 NG @5 08 |
|---|
| C03 | 08 | X | ENG | @0 Italy @2 NG @5 08 |
|---|
| C03 | 08 | X | SPA | @0 Italia @2 NG @5 08 |
|---|
| C03 | 09 | X | FRE | @0 Réponse impulsion @5 09 |
|---|
| C03 | 09 | X | ENG | @0 Pulse response @5 09 |
|---|
| C03 | 09 | X | SPA | @0 Respuesta impulsión @5 09 |
|---|
| C03 | 10 | X | FRE | @0 Simulation ordinateur @5 10 |
|---|
| C03 | 10 | X | ENG | @0 Computer simulation @5 10 |
|---|
| C03 | 10 | X | SPA | @0 Simulación computadora @5 10 |
|---|
| C03 | 11 | X | FRE | @0 Modélisation @5 11 |
|---|
| C03 | 11 | X | ENG | @0 Modeling @5 11 |
|---|
| C03 | 11 | X | SPA | @0 Modelización @5 11 |
|---|
| C03 | 12 | X | FRE | @0 Temps réverbération @5 12 |
|---|
| C03 | 12 | X | ENG | @0 Reverberation time @5 12 |
|---|
| C03 | 12 | X | SPA | @0 Tiempo reverberación @5 12 |
|---|
| C03 | 13 | X | FRE | @0 Etude expérimentale @5 13 |
|---|
| C03 | 13 | X | ENG | @0 Experimental study @5 13 |
|---|
| C03 | 13 | X | SPA | @0 Estudio experimental @5 13 |
|---|
| C03 | 14 | X | FRE | @0 Corrélation croisée @5 14 |
|---|
| C03 | 14 | X | ENG | @0 Cross correlation @5 14 |
|---|
| C03 | 14 | X | SPA | @0 Correlación cruzada @5 14 |
|---|
| C03 | 15 | X | FRE | @0 Niveau puissance acoustique @5 15 |
|---|
| C03 | 15 | X | ENG | @0 Sound power level @5 15 |
|---|
| C03 | 15 | X | SPA | @0 Nivel potencia acústica @5 15 |
|---|
| C03 | 16 | X | FRE | @0 4355 @2 PAC @4 INC @5 56 |
|---|
| C07 | 01 | X | FRE | @0 Europe @2 NG |
|---|
| C07 | 01 | X | ENG | @0 Europe @2 NG |
|---|
| C07 | 01 | X | SPA | @0 Europa @2 NG |
|---|
| N21 | | | | @1 178 |
|---|
|
|---|
| pR |
| A30 | 01 | 1 | ENG | @1 Workshop on Opera House Acoustics @3 Seattle WA USA @4 1998-06 |
|---|
|
|---|
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Le document en format XML
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<term>Italy</term>
<term>Measurement method</term>
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<term>Opera(building)</term>
<term>Pulse response</term>
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<term>Qualité sonore</term>
<term>Absorption acoustique</term>
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<term>Réponse impulsion</term>
<term>Simulation ordinateur</term>
<term>Modélisation</term>
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</keywords><front><div type="abstract" xml:lang="en">The "Teatro Comunale" (City Theatre) in Bologna is an Italian opera house of the 18th century, designed by the famous architect Antonio Galli Bibiena. Largely built in masonry, it has been only partially restored and altered several times, but never destroyed and rebuilt. The study of its acoustics, while interesting for itself, offers the opportunity to investigate the role of the boxes, which constitute the most evident characteristic of Italian opera houses. The study was carried on at first by measurements, acquiring binaural impulse responses in the stalls and in the boxes, and then by computer simulation, modelling also some changes which cannot be done in the real hall. The measurements revealed clear differences between the listening quality in the boxes and in the stalls, especially regarding ITDG, clarity and IACC. Computer simulations show how the sound field in the historical theatre could be if the sound absorption of the boxes were changed, adding some velvet curtains, as was done in ancient times, and clarify the effects of the cavities which constitutes the boxes.</div>
</front><inist><standard h6="B"><pA><fA01 i1="01" i2="1"><s0>0022-460X</s0>
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</fA03><fA05><s2>232</s2>
</fA05><fA08 i1="01" i2="1" l="ENG"><s1>Boxes and sound quality in an italian opera house</s1>
</fA08><fA09 i1="01" i2="1" l="ENG"><s1>Workshop on opera house acoustic, Seattle, June 1998</s1>
</fA09><fA11 i1="01" i2="1"><s1>COCCHI (A.)</s1>
</fA11><fA11 i1="02" i2="1"><s1>GARAI (M.)</s1>
</fA11><fA11 i1="03" i2="1"><s1>TAVERNELLI (C.)</s1>
</fA11><fA14 i1="01"><s1>DIENCA, University of Bologna, riale Risorgimento 2</s1>
<s2>40136 Bologna</s2>
<s3>ITA</s3>
<sZ>1 aut.</sZ>
<sZ>2 aut.</sZ>
<sZ>3 aut.</sZ>
</fA14><fA18 i1="01" i2="1"><s1>Interuniversity Centre for Acoustics and Musical Research</s1>
<s3>ITA</s3>
<s9>patr.</s9>
</fA18><fA18 i1="02" i2="1"><s1>Music and Concert Hall Acoustics</s1>
<s3>JPN</s3>
<s9>patr.</s9>
</fA18><fA18 i1="03" i2="1"><s1>ASA. Technical Committee of Architectural Acoustics</s1>
<s3>USA</s3>
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</fA66><fC01 i1="01" l="ENG"><s0>The "Teatro Comunale" (City Theatre) in Bologna is an Italian opera house of the 18th century, designed by the famous architect Antonio Galli Bibiena. Largely built in masonry, it has been only partially restored and altered several times, but never destroyed and rebuilt. The study of its acoustics, while interesting for itself, offers the opportunity to investigate the role of the boxes, which constitute the most evident characteristic of Italian opera houses. The study was carried on at first by measurements, acquiring binaural impulse responses in the stalls and in the boxes, and then by computer simulation, modelling also some changes which cannot be done in the real hall. The measurements revealed clear differences between the listening quality in the boxes and in the stalls, especially regarding ITDG, clarity and IACC. Computer simulations show how the sound field in the historical theatre could be if the sound absorption of the boxes were changed, adding some velvet curtains, as was done in ancient times, and clarify the effects of the cavities which constitutes the boxes.</s0>
</fC01><fC02 i1="01" i2="X"><s0>001B40C55</s0>
</fC02><fC03 i1="01" i2="X" l="FRE"><s0>Acoustique</s0>
<s5>01</s5>
</fC03><fC03 i1="01" i2="X" l="ENG"><s0>Acoustics</s0>
<s5>01</s5>
</fC03><fC03 i1="01" i2="X" l="SPA"><s0>Acústica</s0>
<s5>01</s5>
</fC03><fC03 i1="02" i2="X" l="FRE"><s0>Méthode mesure</s0>
<s5>02</s5>
</fC03><fC03 i1="02" i2="X" l="ENG"><s0>Measurement method</s0>
<s5>02</s5>
</fC03><fC03 i1="02" i2="X" l="SPA"><s0>Método medida</s0>
<s5>02</s5>
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<s5>03</s5>
</fC03><fC03 i1="03" i2="X" l="ENG"><s0>Architectural acoustics</s0>
<s5>03</s5>
</fC03><fC03 i1="03" i2="X" l="SPA"><s0>Acústica arquitectural</s0>
<s5>03</s5>
</fC03><fC03 i1="04" i2="X" l="FRE"><s0>Source sonore</s0>
<s5>04</s5>
</fC03><fC03 i1="04" i2="X" l="ENG"><s0>Sound source</s0>
<s5>04</s5>
</fC03><fC03 i1="04" i2="X" l="SPA"><s0>Fuente sonora</s0>
<s5>04</s5>
</fC03><fC03 i1="05" i2="X" l="FRE"><s0>Qualité sonore</s0>
<s5>05</s5>
</fC03><fC03 i1="05" i2="X" l="ENG"><s0>Sound quality</s0>
<s5>05</s5>
</fC03><fC03 i1="05" i2="X" l="SPA"><s0>Calidad sonora</s0>
<s5>05</s5>
</fC03><fC03 i1="06" i2="X" l="FRE"><s0>Absorption acoustique</s0>
<s5>06</s5>
</fC03><fC03 i1="06" i2="X" l="ENG"><s0>Acoustic absorption</s0>
<s5>06</s5>
</fC03><fC03 i1="06" i2="X" l="SPA"><s0>Absorción acústica</s0>
<s5>06</s5>
</fC03><fC03 i1="07" i2="X" l="FRE"><s0>Opéra bâtiment</s0>
<s5>07</s5>
</fC03><fC03 i1="07" i2="X" l="ENG"><s0>Opera(building)</s0>
<s5>07</s5>
</fC03><fC03 i1="07" i2="X" l="SPA"><s0>Ópera(edificio)</s0>
<s5>07</s5>
</fC03><fC03 i1="08" i2="X" l="FRE"><s0>Italie</s0>
<s2>NG</s2>
<s5>08</s5>
</fC03><fC03 i1="08" i2="X" l="ENG"><s0>Italy</s0>
<s2>NG</s2>
<s5>08</s5>
</fC03><fC03 i1="08" i2="X" l="SPA"><s0>Italia</s0>
<s2>NG</s2>
<s5>08</s5>
</fC03><fC03 i1="09" i2="X" l="FRE"><s0>Réponse impulsion</s0>
<s5>09</s5>
</fC03><fC03 i1="09" i2="X" l="ENG"><s0>Pulse response</s0>
<s5>09</s5>
</fC03><fC03 i1="09" i2="X" l="SPA"><s0>Respuesta impulsión</s0>
<s5>09</s5>
</fC03><fC03 i1="10" i2="X" l="FRE"><s0>Simulation ordinateur</s0>
<s5>10</s5>
</fC03><fC03 i1="10" i2="X" l="ENG"><s0>Computer simulation</s0>
<s5>10</s5>
</fC03><fC03 i1="10" i2="X" l="SPA"><s0>Simulación computadora</s0>
<s5>10</s5>
</fC03><fC03 i1="11" i2="X" l="FRE"><s0>Modélisation</s0>
<s5>11</s5>
</fC03><fC03 i1="11" i2="X" l="ENG"><s0>Modeling</s0>
<s5>11</s5>
</fC03><fC03 i1="11" i2="X" l="SPA"><s0>Modelización</s0>
<s5>11</s5>
</fC03><fC03 i1="12" i2="X" l="FRE"><s0>Temps réverbération</s0>
<s5>12</s5>
</fC03><fC03 i1="12" i2="X" l="ENG"><s0>Reverberation time</s0>
<s5>12</s5>
</fC03><fC03 i1="12" i2="X" l="SPA"><s0>Tiempo reverberación</s0>
<s5>12</s5>
</fC03><fC03 i1="13" i2="X" l="FRE"><s0>Etude expérimentale</s0>
<s5>13</s5>
</fC03><fC03 i1="13" i2="X" l="ENG"><s0>Experimental study</s0>
<s5>13</s5>
</fC03><fC03 i1="13" i2="X" l="SPA"><s0>Estudio experimental</s0>
<s5>13</s5>
</fC03><fC03 i1="14" i2="X" l="FRE"><s0>Corrélation croisée</s0>
<s5>14</s5>
</fC03><fC03 i1="14" i2="X" l="ENG"><s0>Cross correlation</s0>
<s5>14</s5>
</fC03><fC03 i1="14" i2="X" l="SPA"><s0>Correlación cruzada</s0>
<s5>14</s5>
</fC03><fC03 i1="15" i2="X" l="FRE"><s0>Niveau puissance acoustique</s0>
<s5>15</s5>
</fC03><fC03 i1="15" i2="X" l="ENG"><s0>Sound power level</s0>
<s5>15</s5>
</fC03><fC03 i1="15" i2="X" l="SPA"><s0>Nivel potencia acústica</s0>
<s5>15</s5>
</fC03><fC03 i1="16" i2="X" l="FRE"><s0>4355</s0>
<s2>PAC</s2>
<s4>INC</s4>
<s5>56</s5>
</fC03><fC07 i1="01" i2="X" l="FRE"><s0>Europe</s0>
<s2>NG</s2>
</fC07><fC07 i1="01" i2="X" l="ENG"><s0>Europe</s0>
<s2>NG</s2>
</fC07><fC07 i1="01" i2="X" l="SPA"><s0>Europa</s0>
<s2>NG</s2>
</fC07><fN21><s1>178</s1>
</fN21><pR><fA30 i1="01" i2="1" l="ENG"><s1>Workshop on Opera House Acoustics</s1>
<s3>Seattle WA USA</s3>
<s4>1998-06</s4>
</fA30>
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