It is well documented that the interference of noise in the classroom puts younger pupils at a disadvantage for speech perception tasks. Nevertheless, the dependence of this phenomenon on the type of noise, and the way it is realized for each class by a specific combination of intelligibility and effort have not been fully investigated. Following on a previous laboratory study on "listening efficiency," which stems from a combination of accuracy and latency measures, this work tackles the problems above to better understand the basic mechanisms governing the speech perception performance of pupils in noisy classrooms. Listening tests were conducted in real classrooms for a relevant number of students, and tests in quiet were also developed. The statistical analysis is based on stochastic ordering and is able to clarify the behavior of the classes and the different impacts of noises on performance. It is found that the joint babble and activity noise has the worst effect on performance whereas tapping and external traffic noises are less disruptive.

In order to obtain an effective speech communication in rooms it is advisable, besides reaching the full intelligibility of words, to minimize the effort paid by the listener in the recognition of the speech material. This twofold requirement is not easily described by the current room acoustic indicators, which are mainly concerned either with a subjective rating by means of word recognition scores or with using listeners' impressions of reported listening difficulties. In this work, the problem is tackled by introducing the concept of "listening efficiency," which is defined as a combination of the accuracy of intelligibility and of the effort spent on achieving this goal. This indicator is here developed, and an application of the former and of the "listening efficiency" is presented in the field of classroom acoustics. Listening tests with pupils and adults were performed and the subsequent statistical analyses indicated several interesting findings. In particular, listening efficiency is able to clearly discriminate between equal intelligibility scores obtained under different acoustical conditions, permitting room acoustics to be tailored for specific groups, such as children.

A good agreement has been found between the SRTs and slope and those of other matrix tests. Since sentences are difficult to memorize, the Italian matrix test is suitable for repeated measurements.

The interplay of architecture and acoustics is remarkable in ancient Greek and Roman theaters. Frequently they are nowadays lively performance spaces and the knowledge of the sound field inside them is still an issue of relevant importance. Even if the transition from Greek to Roman theaters can be described with a great architectural detail, a comprehensive and objective approach to the two types of spaces from the acoustical point of view is available at present only as a computer model study [P. Chourmouziadou and J. Kang, "Acoustic evolution of ancient Greek and Roman theaters," Appl. Acoust. 69, re (2007)]. This work addresses the same topic from the experimental point of view, and its aim is to provide a basis to the acoustical evolution from Greek to Roman theater design. First, by means of in situ and scale model measurements, the most important features of the sound field in ancient theaters are clarified and discussed. Then it has been possible to match quantitatively the role of some remarkable architectural design variables with acoustics, and it is seen how this criterion can be used effectively to define different groups of ancient theaters. Finally some more specific wave phenomena are addressed and discussed.

Opera houses represent a large group of performance spaces characterized by great complexity and, at the same time, versatility with respect to different usage (from opera to symphonic music and ballet). This kind of building originated in Italy during the 17th century and later spread across the country and then Europe and the rest of the world, slowly evolving into modern theatre shapes. As a consequence of the changes undergone by the interior space, the original acoustic features, which likely influenced many composers, experienced important variations. Thanks to acoustic measurement campaigns inside Italian Historical Opera Houses, promoted by National and Regional Projects, the distinctive features of these spaces were investigated in comparison to modern spaces. In this work, the newly acquired data are merged with data in the literature in order to present and discuss some of the distinctive acoustic features of historical spaces as regards their original function. Moreover, specific issues such as listening in stalls and boxes and the criteria governing the preference judgment of listeners are considered. The concept and the crucial role of the balance between stage and pit sources are also discussed by means of previous literature studies.