Virtual Notre-Dame: Preliminary results of real-time auralization with choir members

Eley, Nolan; Mullins, Sarabeth; Stitt, Peter; Katz, Brian F. G.

doi:10.1109/i3da48870.2021.9610851

Cited by 5 publications

(4 citation statements)

References 24 publications

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“…For example, some studies have used virtual acoustic environments [14][15][16][17][18][19], some have used real acoustic environments [20,21], and others have used a mixed approach [22][23][24][25]. Furthermore, the variety of acoustical parameters under consideration in these studies is large, as is the range of methods analyzing the resulting musical performances.…”

Section: Acoustics-performance Interactionmentioning

confidence: 99%

Listener perception of changes in historically informed performance of solo baroque music due to room acoustics

Eley,

Lavandier,

Psychoyou

et al. 2024

Acta Acust.

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A listening test was performed to determine whether there were any perceived differences in the playing styles of musicians as a function of the room in which the music was performed. This listening test was part of a larger study aimed at investigating the impact of room acoustics on historically informed performance (HIP) of baroque music which included an objective analysis framework designed to capture dimensions of performance important to a historical baroque playing style. The test included both flute and viol examples and included the participation of 20 musically trained listeners with a background in HIP. The results of the test showed some significant differences in certain performance parameters for both instruments. In particular, the flute examples demonstrated differences that aligned with reports from the flutists about the strategies they used to adapt to the different acoustics, and there was agreement between listener ratings and previously extracted objective parameters. These findings suggest that room acoustics play a role in shaping musical performance, and that the resulting changes can be perceived by listeners.

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Section: Acoustics-performance Interactionmentioning

confidence: 99%

Listener perception of changes in historically informed performance of solo baroque music due to room acoustics

Eley,

Lavandier,

Psychoyou

et al. 2024

Acta Acust.

Self Cite

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“…Previous calibration procedures frequently focus on the calibration of a loudspeaker array, where the loudspeakers can be treated as extending the domain of the experimental room into the virtual domain, or on the recreation of an OBRIR using a dummy head with mouth simulator. 18,26 This calibration process for the binaural system follows an energy-balance approach previously used within the context of loudspeaker-based reproduction systems and extended in Eley et al 17,27 The approach begins with calculating the stage parameter ST late as in Eq. ( 1), which measures the balance of early and late acoustic energy related to a performer's experience of reverberance on a stage.…”

Section: Calibration and Validationmentioning

confidence: 99%

Immersive Auralisations for Choral Ensembles

MULLINS,

KATZ

2023

Auditorium Acoustics 2023

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“…For the modern, unoccupied state, the measured (--) and modeled (-) T20 s are shown. adjusted prior to the experiments through a calibration procedure to achieve realistic balance [9].…”

Section: The Vaesmentioning

confidence: 99%

Preliminary analysis of vocal ensemble performances in real-time historical auralizations of the Palais des Papes

De Muynke,

Eley,

Ferrando

et al.

International Symposium the Acoustics of Ancient Theatres

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In the middle of the 14th century, the recently constructed Great Clementine Chapel of the Palais des Papes had a flourishing reputation for the composition and interpretation of polyphonic singing in the emerging Ars Nova musical style. In modern times, the space is still employed for musical performances. However, the acoustic conditions between the two periods vary greatly, and as such, can be expected to have an impact on vocal performances. As part of the IMAPI and PHE projects, the impact of the acoustics of the Great Clementine Chapel on the performance of a conducted vocal ensemble specializing in medieval music was examined for these two periods. A numerical simulation of the medieval acoustics was developed, based on a calibrated geometrical acoustics model of the modern-day chapel which was then regressed in time to a historically informed medieval state. Experiments were carried out with singers performing repetitions of several pieces in a Virtual Acoustic Environment (VAE) using close-mics and headphone renderings. Recorded performances were analyzed using various metrics, with objective results paired with questionnaires acquired for each VAE condition. Preliminary analysis of these results is presented in this study.

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Virtual Notre-Dame: Preliminary results of real-time auralization with choir members

Cited by 5 publications

References 24 publications

Listener perception of changes in historically informed performance of solo baroque music due to room acoustics

Listener perception of changes in historically informed performance of solo baroque music due to room acoustics

Immersive Auralisations for Choral Ensembles

Preliminary analysis of vocal ensemble performances in real-time historical auralizations of the Palais des Papes

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