It seems that you're in Germany. We have a dedicated site for Germany. The first question any lover of classical music usually asks an acoustician is, "Which are the best halls in the world? Following the first chapters, which establish a base for understanding the effects of acoustics on composers, performers, and listeners, and guiding the reader to a common vocabulary, the bullz of this book, Chapter 3, contains the write-ups, photographs, drawings, and architectural details on existing halls in 31 countries.
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It seems that you're in Germany. We have a dedicated site for Germany. The first question any lover of classical music usually asks an acoustician is, "Which are the best halls in the world?
Following the first chapters, which establish a base for understanding the effects of acoustics on composers, performers, and listeners, and guiding the reader to a common vocabulary, the bullz of this book, Chapter 3, contains the write-ups, photographs, drawings, and architectural details on existing halls in 31 countries.
Thirty of the halls are completely new. Although the remainder appeared in earlier books by the author, the materials have been updated wherever necessary. The sequence of events that led to Boston Symphony Hall's excellent acoustics, which opened in , is covered in detail-although it went through a troubled first few years because the leading local music critic considered the predecessor hall as better.
Detailed discussions also appear for balcony, box, stage, and pit designs. All the known electroacoustical measurements on existing halls are examined and compared with the rank orders of 58 concert halls and 21 opera houses that were obtained from interviews and questionnaires.
Finally, the optimal electro-acoustical results are presented for concert halls and opera houses used for today's repertoires. Three appendices supplement the chapters: the first gives definitions of all of the major acoustical and architectural terms and symbols used in the book; the second provides the electro-acoustical data available on the halls; and the third presents in tabular form much of the dimensional and electro-acoustical data for the halls.
Here, the mysteries of acoustics seem less intimidating: we come to understand why music sounds the way it does in various performance spaces, and what we can do about it. It's a terrific book! Beranek has created a comprehensive and fascinating study of of the world's halls for music. Visiting each of these venues would be a great delight and a marvelous adventure, but such being impractical, this great book is the next best thing.
All lovers of music, acoustics, architecture, and travel will enjoy this unique work. Beranek's passion for music helps to make this the most significant music acoustics book of our times.
Presented are carefully collected plans, data and pictures of halls for music, and assessments of their acoustical quality by artists, critics and audiences, as well as measured scientific criteria. It is an easily readable, "must" handbook for anyone traveling to perform or attend concert or opera music. There is a detailed bibliography and an excellent index. Beranek explains the complexities of the acoustical criteria lucidly, and describes the halls concisely, but clearly with the aid of illustrations and data.
It is a comprehensive and indispensable aid to architects, musicians and design teams who tackle the incredibly daunting task of creating new performance spaces. It gives comprehensive knowledge of room acoustics and offers a basic foundation for acoustical research long into the future. Lovers of music everywhere will welcome this extraordinary work for its scope, depth, and ease of reading, and for heightening our understanding and enjoyment of the musical experiences that so enrich our lives.
It will also bring information and pleasure to all with an interest in music, acoustics and architecture. In our offices, a common response to a question in an acoustical design session is "Let's check in Beranek With presentation of halls, it illustrates various levels of acoustical quality. Written for the lay reader it deserves to be in every school of music, architecture and science and with every musician and music lover.
From the reviews: "For anyone interested in musical performance or in architecture, this book is a real treasure. After a short introduction to outline the approach and define the acoustical terms involved, the book plunges into a wonderful survey of concert halls in 31 different countries ….
The book is elegantly typeset and produced, and will be both interesting reading and a wonderful resource for architects, musicians, and concert goers.
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Concert Halls and Opera Houses: Music, Acoustics, and Architecture
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Concert Halls and Opera Houses