Virtual reconstruction of indoor acoustics in cathedrals: The case of the Cathedral of Granada

Abstract

Virtual reconstruction of indoor acoustics in cathedrals: the case of the cathedral of GranadaVirtual acoustics provides a highly useful tool for the investigation into the influence that spatial transformations may exert on indoor acoustics of cathedrals, which are remarkable spaces due to their heritage value, complexity and multifunctional character. The spatial organization of cathedrals is primarily governed by the location of the choir, which represents the main musical expression. Following various reforms, certain European cathedrals undertook a relocation of the choir stalls from their original position. The Cathedral of Granada is a highly significant case. Since its original construction, three major changes have occurred due to the relocation of the choir. In this article, simulation of indoor acoustics is employed to recover the soundfield in each of these three configurations. An extensive analysis compares the results of the main acoustic parameters in each of the virtual reconstruction models. Consequently, acoustic models are created and then calibrated based on a campaign of onsite measurements.

The Acoustics of the Choir in Spanish Cathedrals

“…Once the model was calibrated, spatial transformations were incorporated that reproduce the acoustic sound field of the cathedral in the past with a different ancient choir. This technique, in which onsite measurements and computer simulation are used as a method of evaluation of the acoustic quality of worship spaces, is evidenced by other previous studies [2,[7][8][9].…”

“…In order to analyse the acoustic environment of the Spanish cathedrals when the sound source is located in the choir space, two different techniques were carried out, depending on the case study: On the one hand, onsite acoustic measurements were carried out in two of the cathedrals that are preserved as they were built centuries ago (Toledo and Seville); and on the other hand, an archaeoacoustics procedure was developed, that is to say, a virtual acoustic reconstruction of the configuration of the spaces in the past using acoustic simulation tools (Santiago and Granada). However, the cathedral of Granada was also acoustically measured, since this procedure enabled the calibration of the virtual model that faithfully represents the current indoor acoustic environment, a procedure that is studied in Alonso et al [8]. Once the model was calibrated, spatial transformations were incorporated that reproduce the acoustic sound field of the cathedral in the past with a different ancient choir.…”

“…An experimental technique was carried out based on onsite measurements to obtain room impulse responses (RIRs) of the cathedrals of Toledo, Seville, and Granada [7][8][9]. The measurements were carried out within two research projects, each of which lasted for 3 years, financed by the National Plan, in order to meet the objectives that were set out in the project, in which the recovery of the intangible heritage was proposed, as was the addition of possible solutions for the improvement of the acoustic behaviour of the cathedrals.…”

“…The measurements were carried out within two research projects, each of which lasted for 3 years, financed by the National Plan, in order to meet the objectives that were set out in the project, in which the recovery of the intangible heritage was proposed, as was the addition of possible solutions for the improvement of the acoustic behaviour of the cathedrals. The results of these research projects are published in several studies [7][8][9][10]. The RIR reflects the behaviour of a space between the point of emission and that of reception and can be used to calculate the acoustic parameters.…”

Psychology Meets Archaeology: Psychoarchaeoacoustics for Understanding Ancient Minds and Their Relationship to the Sacred

“…Major progress in this area has come from the study of architectural acoustics of concert halls and the psychological effects on the audience, especially in terms of emotional responses (Beranek, 1962;Barron, 1971Barron, , 2009Hawkes and Douglas, 1971;Schroeder et al, 1974;Lehmann and Wilkens, 1980;Farina, 2001;Farina et al, 2007;Lokki et al, 2010Lokki et al, , 2011Lokki, 2011;Pätynen and Lokki, 2011, 2018Long, 2014). Progress has also stemmed from studying acoustics in cathedrals, churches, and synagogues (Lubman and Kiser, 2001;Abel et al, 2013;Markham and Azevedo, 2013;Álvarez-Morales et al, 2014;Pedrero et al, 2014;Postma and Katz, 2016a, b;Alonso et al, 2017;Pentcheva and Abel, 2017;Aletta and Kang, 2020), as well as acoustic environments, particularly focusing on noise pollution and human comfort (Cain et al, 2013;Davies, 2013;Davies et al, 2013;Hume and Ahtamad, 2013;Liu and Kang, 2015;Malecki and Piechowicz, 2016).…”