Optimum Acoustic Criteria of Concert Halls for the Performance of Classical Music

Winckel, Fritz

doi:10.1121/1.1936821

Cited by 4 publications

(4 citation statements)

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“…The researchers reasoned that music appeared to engage and program a psychobiologic clock or clocks which functioned subconsciously but gave conscious read-outs and thereby seemed to guide the performers’ realization of tempo in an exact and stable manner. These findings are consistent with the timing of a symphony orchestra in several performances of the same compositions over several years at different music halls of the world measured by Winckel (1962).…”

supporting

confidence: 87%

Consistency of tempo judgements when listening to music of different styles.

Lapidaki

Webster²

1991

Psychomusicology: A Journal of Research in Music Cognition

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This study was designed to determine whether adult musicians and nonmusicians could consistently set tempi when listening to music examples drawn from Western art music of different styles. Three specific questions were posed: (a) is there a consistent judgment of tempo across three separate trials of the same music excerpt using varying initial tempi for each trial; (b) is the judgment of tempo affected by the music background of the subjects; and (c) is the judgment of tempo affected by the style of the excerpt? Subjects (n = 20) heard the same three music examples on three separate occasions. Each session systematically varied the order of the presentation and the initial tempo of the examples. Each was recorded digitally and performed in real time with a computer controlling a MIDI synthesizer. Results of a repeated measures ANOVA indicated significant differences from trial to trial for each music example. The initial tempo was shown to dominate the final, "correct" judgment. Few statistically significant differences in tempo judgment were found as a result of music background and compositional style. Lapidaki and Webster 1 9This document is copyrighted by the American Psychological Association or one of its allied publishers. This article is intended solely for the personal use of the individual user and is not to be disseminated broadly.

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supporting

confidence: 87%

Consistency of tempo judgements when listening to music of different styles.

Lapidaki

Webster²

1991

Psychomusicology: A Journal of Research in Music Cognition

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“…Further research is required to analyze the acoustic properties in these auditory scenes and to adjust the dynamic compression in hearing aids accordingly. An ongoing challenge for hearing aids is the processing of high-level peaks that are often experienced in live music (e.g., Ahnert, 1984 ; Cabot, Center, Roy, & Lucke, 1978 ; Fielder, 1982 ; Sivian, Dunn, & White, 1931 ; Wilson et al., 1977 ; Winckel, 1962 ).…”

Section: Discussionmentioning

confidence: 99%

Dynamic Range Across Music Genres and the Perception of Dynamic Compression in Hearing-Impaired Listeners

Kirchberger

Russo

2016

Trends in Hearing

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Dynamic range compression serves different purposes in the music and hearing-aid industries. In the music industry, it is used to make music louder and more attractive to normal-hearing listeners. In the hearing-aid industry, it is used to map the variable dynamic range of acoustic signals to the reduced dynamic range of hearing-impaired listeners. Hence, hearing-aided listeners will typically receive a dual dose of compression when listening to recorded music. The present study involved an acoustic analysis of dynamic range across a cross section of recorded music as well as a perceptual study comparing the efficacy of different compression schemes. The acoustic analysis revealed that the dynamic range of samples from popular genres, such as rock or rap, was generally smaller than the dynamic range of samples from classical genres, such as opera and orchestra. By comparison, the dynamic range of speech, based on recordings of monologues in quiet, was larger than the dynamic range of all music genres tested. The perceptual study compared the effect of the prescription rule NAL-NL2 with a semicompressive and a linear scheme. Music subjected to linear processing had the highest ratings for dynamics and quality, followed by the semicompressive and the NAL-NL2 setting. These findings advise against NAL-NL2 as a prescription rule for recorded music and recommend linear settings.

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“…Due to the important effect of reverberation on music perception, reverberation time has become a critical acoustic parameter in venue design (e.g., Adelman-Larsen, Thompson, & Gade, 2010 ; Ando, 2007 ; Kuhl, 1954 ; Sakai, Setoguchi, & Ando, 1998 ; Winckel, 1962 ). If the reverberation time is too short, music can sound unblended and disconnected.…”

Section: Introductionmentioning

confidence: 99%

Effects of Varying Reverberation on Music Perception for Young Normal-Hearing and Old Hearing-Impaired Listeners

Reinhart

Souza

2018

Trends in Hearing

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Reverberation enhances music perception and is one of the most important acoustic factors in auditorium design. However, previous research on reverberant music perception has focused on young normal-hearing (YNH) listeners. Old hearing-impaired (OHI) listeners have degraded spatial auditory processing; therefore, they may perceive reverberant music differently. Two experiments were conducted examining the effects of varying reverberation on music perception for YNH and OHI listeners. Experiment 1 examined whether YNH listeners and OHI listeners prefer different amounts of reverberation for classical music listening. Symphonic excerpts were processed at a range of reverberation times using a point-source simulation. Listeners performed a paired-comparisons task in which they heard two excerpts with different reverberation times, and they indicated which they preferred. The YNH group preferred a reverberation time of 2.5 s; however, the OHI group did not demonstrate any significant preference. Experiment 2 examined whether OHI listeners are less sensitive to (e, less able to discriminate) differences in reverberation time than YNH listeners. YNH and OHI participants listened to pairs of music excerpts and indicated whether they perceived the same or different amount of reverberation. Results indicated that the ability of both groups to detect differences in reverberation time improved with increasing reverberation time difference. However, discrimination was poorer for the OHI group than for the YNH group. This suggests that OHI listeners are less sensitive to differences in reverberation when listening to music than YNH listeners, which might explain the lack of group reverberation time preferences of the OHI group.

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Optimum Acoustic Criteria of Concert Halls for the Performance of Classical Music

Cited by 4 publications

References 0 publications

Consistency of tempo judgements when listening to music of different styles.

Consistency of tempo judgements when listening to music of different styles.

Dynamic Range Across Music Genres and the Perception of Dynamic Compression in Hearing-Impaired Listeners

Effects of Varying Reverberation on Music Perception for Young Normal-Hearing and Old Hearing-Impaired Listeners

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