There are two main objective measurement methods in current practice that can be used to evaluate the stage acoustic conditions for singers. One is the stage support metrics (STEarly and STLate, included in the standard ISO 3389-1), and the other is the voice support metrics proposed by Pelegrín-García (room gain (GRG) and voice support (STV)). All of these metrics use energy integration from impulse responses to derive the acoustic descriptors. This overlooks two potentially important features of the responses: the temporal distribution of the impulse response within the evaluation period, and the directional distribution for the spatial impulse response within the evaluation period. In this paper, a method to study the effect of these features is proposed and tested. This method is based on the auralization of ones’ own voice in rooms using oral-binaural room impulse responses (OBRIRs). The OBRIRs used are created by combining synthesized early reflections with a recorded reverberant tail. The early reflections are manipulated in their arrival time, arrival direction, and strength. Results of a pilot study indicate that a wide range of on-stage acoustic quality can be achieved for responses showing a given STEarly value due to variation in the temporal and spatial distribution of reflected energy.

The paper discusses the idea of two-storey churches, with insight into socio-political conditions which influenced their construction. The analysis of the issue was carried out on the basis of investigations in five two-storey churches in Poznań. The churches under investigation were: Visitation of Blessed Virgin Mary Church, Christ the King Church, Our Lady of Częstochowa Church, St. Lawrence Church, and Christ the Redeemer Church. In total, ten interiors were examined. The churches were erected in the late 70s and early 80s of the 20th century. The acoustic conditions were analyzed in terms of cubature, the shape of the interior and finishes. The upper and lower churches were compared within one building; the investigation also involved comparing the churches against each other. Moreover, functionality of the buildings was analyzed, which included aspects of acoustic as well as architectural functionality.

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The paper concerns the influence of the stage layout on the acoustic properties of the auditorium of the Grand Theatre in Poznan. An experimental investigation and a numerical calculation were carried out. During the experimental investigation three cases were analyzed. Firstly, the stage was prepared for a concert (acoustical shell), secondly in had sets for the "Wedding of Figaro", and thirdly it was empty. The reverberation time and the acoustic pressure distribution were analyzed. The research was done by the interrupted noise method and by the true impulsive sources (pistol shots). The modified ray method was used in numerical calculations of acoustic field parameters. It turned out that the light weight structures (materials used in construction of stage sets and acoustical shell) had only decorative function and their influence on the acoustics of the auditorium opera theatre is small. Moreover, the investigation proved that the distribution of the sound pressure level in the auditorium is asymmetrical. It is because of the geometrical asymmetry of the stage (only one side wing). An acoustical correction of the stage was suggested i.e. applying of slided acoustics walls to separate the stage from the background and the side wing.

This paper discusses issues common to architecture, sculpture and acoustics and presents the authors' design of an acoustic ceramic module, currently in the prototype stage. The project was conceived to create a system of ceramic tiles that can create a space as well as enhance the acoustics of its interior. Modularity ensures that through numerous combinations many patterns can be produced from one tile design. The ceramic materials used may vary, from porous chamotte to the smooth surfaces of casting slips to glazing. The key issue, apart from shaping an interior architecture, was to focus on the acoustic function of the tiles. The creative process was of a two-fold nature: Its visual aspect focused on individualization of the space, while its functional one was to ensure acoustically comfortable interiors.