<i>Architectural Acoustics: Blending Sound Sources, Sound Fields, and Listeners</i>

Ando, Y.; Tichý, Jiří

doi:10.1063/1.882758

Cited by 56 publications

(116 citation statements)

References 0 publications

Supporting

Mentioning

110

Contrasting

Unclassified

Order By: Relevance

“…However, the high number of these parameters has recently raised an interest towards synthetic indices to evaluate the acoustics of a room. The most diffused of these indices have been proposed by Ando (1998) and Beranek (1996;2004), and were specifically defined for concert halls.…”

Section: Indices For Concert Hallsmentioning

confidence: 99%

“…Ando proposed to compare the value of each parameter (par ) with the optimal one for that parameter (par optimal ) in order to obtain the partial index (x i ), and then to recompose the partial indices into the final index (S), according to coefficients (a i ) that weight the psychological influence of each parameter. The formulas proposed by Ando (1998) for the single index are:…”

Section: Indices For Concert Hallsmentioning

confidence: 99%

“…Several authors have proposed synthetic indices to assess the acoustics of a space. As most of the studies about architectural acoustics have focused on spaces for performances, single indices have been developed mainly for concert halls (Cremer, Muller, 1982;Ando, 1998;Beranek, 1996;2004). However, in this paper, the attention is focused on worship spaces.…”

Section: Introductionmentioning

confidence: 99%

“…Consequently, some recent studies have led to define new parameters related to the subjective perception of room acoustics (Nishi, 1992, Okano et al, 1998Ando, 1998). Most of these parameters have already been introduced in the new standard for measurements of room acoustics (ISO 3382-1, 2009).…”

Section: Introductionmentioning

confidence: 99%

See 3 more Smart Citations

A Double Synthetic Index to Evaluate the Acoustics of Churches

Berardi¹

2012

Archives of Acoustics

View full text Add to dashboard Cite

Several authors have proposed indices to synthesize the acoustics of a space, especially of concert halls. Meanwhile, a few studies have focused on the acoustics of worship spaces. The peculiarities of these last ones have shown distinctive characteristics. The increasing interest for the acoustics of worship spaces justifies the formulation of indices to synthesize the results of acoustic studies in these buildings too. This paper proposes a double synthetic index to evaluate the acoustics of a church. The index is obtained combining the average values of seven parameters generally considered in studies of architectural acoustics. The differences between requirements for music and speech in churches suggest to consider different optimal values of the selected parameters for different kinds of sound. A double synthetic index has been defined to synthesize the acoustical properties related to the music and to the speech separately. The validity of this double index is then assessed, comparing its values with subjective preferences captured through listening tests. The index, which is proposed and validated in this paper, aims to be an instrument to show synthetically the acoustical characteristics of a church to people with low knowledge in acoustics.

show abstract

Section: Indices For Concert Hallsmentioning

confidence: 99%

Section: Indices For Concert Hallsmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

See 2 more Smart Citations

A Double Synthetic Index to Evaluate the Acoustics of Churches

Berardi¹

2012

Archives of Acoustics

View full text Add to dashboard Cite

show abstract

“…It is now well established that spatial impression in concert halls consists of at least two components: apparent source width (ASW) and listener envelopment (LEV) [1] [8] that are typically related to the acoustics of early and late reflections respectively. According to Morimoto [23], apparent or auditory source width is "the width of a sound image fused temporally and spatially with the direct sound image" and listener envelopment is "the degree of fullness of sound images around the listener, excluding the precedent sound image composing ASW."…”

Section: The Problem Of Terminologymentioning

confidence: 99%

The Artistic Play of Spatial Organization: Spatial Attributes, Scene Analysis and Auditory Spatial Schemata

Kendall

Ardila

Lecture Notes in Computer Science

View full text Add to dashboard Cite

Abstract. Electroacoustic music lacks a definitive vocabulary for describing its spatiality. Not only does it lack a vocabulary for describing the spatial attributes of individual sound sources, it lacks a vocabulary for describing how these attributes participate in artistic expression. Following work by Rumsey, the definition of spatial attributes is examined in the broader context of auditory scene analysis. A limited number of spatial attributes are found to be adequate to characterize the individual levels of organization nested within the auditory scene. These levels are then viewed in relationship to auditory spatial schemata, the recurrent patterns by which listeners understand the behavior of sound in space. In electroacoustic music the interrelationship of spatial attributes and spatial schemata is often engaged in a play of perceptual grouping that blurs and confounds distinctions like source and ensemble. Our ability to describe and categorize these complex interactions depends on having clear concepts and terminology.

show abstract