Concert hall design: Some considerations.

2015 ◽  
Vol 25 (3) ◽  
pp. 181-186
Author(s):  
Leo L. Beranek
Keyword(s):  
Concert Hall

Interrelation of Architectural Concepts and Principles of Artificial Lighting in the Moscow Concert Hall Zaryadye

2019 ◽  
pp. 4-13
Author(s):  
Maria M. Ilyevskaya
Keyword(s):  
Concert Hall ◽  
Distinctive Features ◽  
Artificial Lighting ◽  
Building Type ◽  
Concert Halls ◽  
Architectural Language ◽  
The Creation ◽  
Architectural Planning ◽  
The Individual ◽  
Formal Features

The article is focused on the analysis of the Zaryadye Concert Hall building in Moscow in terms of the significance of artificial lighting for the creation of the imagery and perception of this facility within the typology of entertainment music-oriented buildings. Through the example of modern places of entertainment, the author reveals a number of formal features (typological attributes), which, being common to buildings of this function, constitute the basis of their image and become obvious due to the realized lighting concept. The interpretation of these attributes in the interaction of architectural planning and lighting concepts in the Zaryadye Concert Hall is traced. In conclusion, the distinctive features of the building under consideration are determined. At the same time, they reflect a new understanding of concert halls as a building type, the changes related to the overall development of architecture, as well as the elements of the individual architectural language.

The Take and the Stutter: Glenn Gould's Time Synthesis

2015 ◽  
Vol 9 (4) ◽  
pp. 558-577
Author(s):  
Mickey Vallee
Keyword(s):  
Sensory Experience ◽  
Sound Recording ◽  
Deleuze And Guattari ◽  
Concert Hall ◽  
The Third ◽  
Passive Synthesis ◽  
Recording Studios ◽  
Recorded Performance

In A Thousand Plateaus, Deleuze and Guattari refer to Glenn Gould as an illustration of the third principle of the rhizome, that of multiplicity: ‘When Glenn Gould speeds up the performance of a piece, he is not just displaying virtuosity, he is transforming the musical points into lines, he is making the whole piece proliferate’ (1987: 8). In an attempt to make sensible their ostensibly modest statement, I proliferate the relationships between Glenn Gould's philosophy of sound recording, Deleuze's theory of passive synthesis, and Deleuze and Guattari's concept of the stutter. I argue, ultimately, that Glenn Gould's radical recording practice stutters and deterritorialises the temporality of the recorded performance. More generally, the Deleuzian perspective broadens the scope of Gould's aesthetic practices that highlights the importance of aesthetic acts in the redistribution of sensory experience. But the study serves a broader purpose than celebrating a pianist/recordist that Deleuze admired. Rather, while his contemporaries began to use the studio as a compositional element in sound recording, Gould bypassed such a step towards the informational logics of recording studios. Thus, it is inappropriate to think of Gould as having immersed himself in ‘technology’ than the broader concept of a complex, one that redistributed the striated listening space of the concert hall.

All Things New in Singapore: On creativity, complexity, and usage associations in Englishes

English Today ◽  
2021 ◽  
pp. 1-11
Author(s):  
Edgar W. Schneider
Keyword(s):  
Performing Arts ◽  
Special Program ◽  
High Quality ◽  
Concert Hall

In January 2021, Singapore's national performing arts center ‘Esplanade – Theatres on the Bay’, known especially for the high-quality acoustics of its concert hall, ran a special program called ‘All Things New’, featuring concerts and other art performances. It was advertised on location (see Figure 1), by a leaflet (Figure 2), and in a one-minute video (https://www.esplanade.com/festivals-and-series/all-things-new/2021) also shared on YouTube (https://www.youtube.com/watch?v=7U-7Yw9sTPs), and introduced young artists and bands who performed on the institution's ‘Concourse’ and its open stage called ‘Outdoor Theatre’ (for an example, see Figure 3).

Creating Multiple Spatial Settings with “Granular Spatialisation” in the High-Density Loudspeaker Array of the Cube Concert Hall

2016 ◽  
Vol 40 (4) ◽  
pp. 79-90
Author(s):  
Javier Alejandro Garavaglia
Keyword(s):  
Electroacoustic Music ◽  
Virginia Polytechnic Institute ◽  
High Density ◽  
Polytechnic Institute ◽  
Large Array ◽  
State University ◽  
Spatial Audio ◽  
Concert Hall

This article offers an alternative for spatializing electroacoustic music using high-density loudspeaker arrays (HDLAs). It describes and contextualizes experimentation with the large array of speakers of the Cube concert hall made during the Spatial Audio Workshop residency at the Moss Arts Center, Virginia Polytechnic Institute and State University in August 2015. The experiments were performed using the implementation of “Granular Spatialisation” (GS), a technique developed by the author for sound diffusion in HDLAs. This is based on the projection of sound using spatial grains of “microdurations,” with ideally one grain individually addressing each speaker of the array. The article focuses on particular aspects of, challenges from, and strategies for using GS for the projection of sound with the Cube's array of 138 loudspeakers, including four independent subwoofers, while composing a new acousmatic piece that was diffused in the Cube at the end of the residency.

The Quest for Sterland - 1. The London Tavern: A Forgotten Concert Hall

1986 ◽  
Vol 127 (1720) ◽  
pp. 382 ◽  
Author(s):  
Alec Hyatt King
Keyword(s):  
Concert Hall

Measurement of reverberation time of a passenger car utilizing the wavelet filter bank

2005 ◽  
Vol 219 (3) ◽  
pp. 329-336 ◽  
Author(s):  
Sang-Kwon Lee ◽  
Dong-June Yu
Keyword(s):  
Filter Bank ◽  
Bandpass Filter ◽  
Wavelet Filter ◽  
Reverberation Time ◽  
Passenger Cars ◽  
Passenger Car ◽  
Concert Hall ◽  
Low Level ◽  
Wavelet Filter Bank

A few researchers have tried to find the measurement of the reverberation time of a passenger car. However, this has proved to be extremely difficult because the reverberation time of a passenger car is too short to measure using the traditional bandpass filter. If the reverberation time is very short, the product of the reverberation time ( T) and the bandwidth ( B) of the traditional bandpass filter is very small. The low level of the product BT required for the measurement of the reverberation time using the traditional bandpass filter is 16. In order to overcome this problem, the wavelet filter bank has been developed. In the paper, this new wavelet filter is employed to measure the reverberation times of five different classes of passenger car. The low level of the product BT required for the measurement of reverberation time using the wavelet filter is 4. Therefore, it was possible to measure the reverberation times of five passenger cars successfully using the new wavelet filter bank. It is found that the reverberation times measured in most passenger cars are around 0.04. It is a very short reverberation time compared with those of general acoustic rooms like a concert hall.

Village life and Concert Hall: Is There a Connection?

2020 ◽  
Author(s):  
Diana Lawryshyn
Keyword(s):  
Creative Process ◽  
Folk Music ◽  
Classical Music ◽  
Western Music ◽  
Concert Hall ◽  
Folk Traditions ◽  
Contemporary Classical Music ◽  
One Step ◽  
Village Life ◽  
Insight Into

Ukrainian folk music has been embedded into much of the classical music we hear. Mykola Leontovych and Peter Wilhousky are credited for the ever-famous piece Carol of the Bells, an arrangement of a Ukrainian Epiphany carol called Shchedryk (Щедрик). Despite the applicability of Ukrainian folk-inspired music in our society, people are generally unaware of its origin. In fact, researcher Yakov Soroker provides evidence of Ukrainian folk inspiration in various classical pieces being misclassified as Russian, Polish, and/or Hungarian. Ukrainian classical music, for many reasons pertaining to its unstable history, is not well known outside Ukraine and, therefore, is rarely discussed. This has limited potential insights it might bring to those who have interest in its place in Western music. My research explores the influence that Ukrainian folk traditions have had on contemporary classical music. My research has come from gathering and sifting through historical literature about the origins of classical, Ukrainian classical, Ukrainian folk, and other folk music works. I have also listened to selected works and examined the critiques of experts to form conclusions about how composers today have been influenced, knowingly or otherwise, by Ukrainian folk music. Going one step further, in order to provide a deeper, practical insight into the creative process of composers who have been influenced by Ukrainian folk music, I have composed a piece of my own influenced by Ukrainian folklore. 

Zemlinsky's “Expressionist” Moment: Critical Reception of the Second String Quartet, 1918–1924

2018 ◽  
Vol 71 (2) ◽  
pp. 371-438
Author(s):  
Clare Carrasco
Keyword(s):  
Cultural Politics ◽  
String Quartet ◽  
Public Life ◽  
Critical Reception ◽  
Early History ◽  
German Culture ◽  
Concert Hall ◽  
Political Debates ◽  
History Of ◽  
The Great War

In the years after 1918, discourse about musical expressionism was controlled by critics rather than composers. Understanding expressionism to be as much a public matter emanating from the concert hall as a private one rooted in the composer's workshop, critics at that time often identified as “expressionist” works that fall outside the conventional notion of an expressionist repertory. In a particularly striking case, those who reviewed the 1918 premiere of Zemlinsky's Second String Quartet, op. 15, described it as experimental, revolutionary, indeed expressionist music. Today, scholars consistently count opus 15 among Zemlinsky's most compelling works, but they do not usually frame it in such charged terms. This article uses reviews of the earliest public performances of the quartet to elucidate the diverse and changing ways in which critics positioned it, as an instrumental chamber work, relative to expressionism between 1918 and 1924. In addition to discussing its music-stylistic features, critics involved the quartet in the heated musical-political debates surrounding expressionism in Austro-German culture at the end of and just after the Great War. These debates concerned everything from the threat of “musical bolshevism” to the (re)interpretation of Bach's and Beethoven's legacies in a postwar age. Zemlinsky's short-lived “expressionist” moment was thus very much a public moment. Reconstructing it opens a window onto the vicissitudes of the early history of musical expressionism, revealing ways in which expressionism was originally meaningful not in relation to composers’ inner lives, but in relation to the turbulent musical and cultural politics that shaped public life.

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