Sacral Sound-Engineering

Budzynski, Gustaw K.

doi:10.2478/v10168-011-0017-9

Cited by 3 publications

(2 citation statements)

References 6 publications

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“…The carillon is a collection of pitched bells that is played with a keyboard. Bells have inharmonic spectra, and we might expect these inharmonic spectra to induce substantial deviations in consonance properties from standard harmonic instruments, as has been stated in Preprint (March 2024) _________________________________________________________________________________ musicians' writings about the carillon (Archer, 1937) as well as previous modelling studies (Sethares, 2005) but not yet established empirically (though see Budzyński & Sankiewicz, 2014 for a preliminary investigation).…”

Section: Introductionmentioning

confidence: 87%

Consonance in the carillon

Harrison,

MacConnachie

2024

Preprint

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Recent research has confirmed that musical consonance is not only determined by the frequency ratios between tones, but also by the frequency spectra of the underlying tones (Marjieh et al., 2024). However, this prior research was limited to artificial tones, specifically tones built from a small number of pure tones, producing sounds that do not match the acoustic complexity of real musical instruments. Here we therefore investigate tones recorded from a real musical instrument, the Westerkerk Carillon, conducting a ‘dense rating’ experiment where participants (N = 113) rated musical intervals drawn from the continuous range 0-15 semitones. We show that the traditional consonances of the major third and the minor sixth become dissonances in the carillon, and we show that small intervals (in particular 0.5-2.5 semitones) also become particularly dissonant in the carillon. Through computational modelling we show that these effects are primarily caused by interference between partials (e.g. beating), but we also show that preference for harmonicity is also necessary to produce an accurate overall account of participants’ preferences. The results support musicians’ writings about the carillon and contribute to ongoing debates about the psychological mechanisms underpinning consonance perception.

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Section: Introductionmentioning

confidence: 87%

Consonance in the carillon

Harrison,

MacConnachie

2024

Preprint

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“…From that moment, and in the context of where the congregation should listen and understand the liturgical act, this architect considered the acoustic problem as a constant to be addressed and resolved in his religious architecture. The importance of these facts in the acoustics of churches and the need for its study has been suggested by other authors (Budzyński, 2011).…”

Section: Introductionmentioning

confidence: 98%

Acoustic Rehabilitation of the Church of Santa Ana in Moratalaz, Madrid

Bueno¹,

León²,

Galindo³

2012

Archives of Acoustics

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The church of Santa Ana in Moratalaz, Madrid, Spain (1965-1971, is an emblematic work of the architect Miguel Fisac. In his long career include interventions in the religious field, constituting one of the most important contributions to Spanish religious architecture of the last century. This church is a singular place of worship and architecturally significant, in which the acoustics played an important role in the configuration of the spatiality of the church. This paper studies the acoustic behaviour of the church and its relationship with its unique structural, spatial and coating material characteristics. The analysis of the current acoustic conditions, with high reverberation times (up to 6 seconds) and poor intelligibility on the audience, serve as the basis for making an acoustic rehabilitation proposal that contributes to improving the sound conditions of the building for the intended use, without distorting the spatial, formal and material aspects with which the architect conceived the project.

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