Case study: Acoustic tuning of the new DePaul University School of Music Concert Hall

2018 ◽  
Vol 144 (3) ◽  
pp. 1689-1690
Author(s):  
Brian Corry ◽  
Ian Hough
Keyword(s):  
Concert Hall ◽  
School Of Music ◽  
Acoustic Tuning

scholarly journals Interaction of landscape space and indoors in architecture of the open-air concert hall “Mitava”

2021 ◽  
Vol 17 ◽  
pp. 55-67
Author(s):  
Aija Grietena
Keyword(s):  
Interdisciplinary Collaboration ◽  
Building Structures ◽  
Acoustic Characteristics ◽  
Concert Hall ◽  
Emotional Quality ◽  
Indoor Space ◽  
The Baltic ◽  
Wooden Structures

In the search for balancing factors in the art of environmental design between architecture, landscape architecture, and interiors needed to improve interdisciplinary collaborative planning and enhance the psycho-emotional quality of the environment, the study of landscape space-indoor interaction through comparative analysis and inductive reference is continued. On the Latvian scale, the new, 21st-century technological capabilities in the design and production of wooden structures in the architecture of the open air concert hall “Mītava”, constructed in 2019 on Pasta Island. The importance of the structure on the Baltic scale is emphasized by the unique design, which resembles a shell washed on the bank of the Lielupe River, large (<60m) arched timber continuous roof structures and high acoustic characteristics. Original building structures have opened up new opportunities for interaction between landscape space and indoor space, creating a broad, spatial synthesis. The realization of an artistically stylistic concept in the open-air concert hall “Mītava”, which is subordinated to the existing landscape space and supplemented with appropriate greenery, is considered a valuable contribution to the urban environment. The specific case study analyzed in detail underlines the importance of successful interdisciplinary collaboration in the harmonious interaction between landscape space and indoor.

Acousmatic Approaches to the Construction of Image and Space in Sound Art

2015 ◽  
Vol 20 (2) ◽  
pp. 148-159 ◽  
Author(s):  
Peter Batchelor
Keyword(s):  
Current Trend ◽  
Image Space ◽  
Sound Art ◽  
Concert Hall ◽  
Spatial Sound ◽  
Alternative Means ◽  
Acousmatic Music ◽  
Relationship Of ◽  
The Relationship

This article considers ideas of image and space as they apply to acousmatic music and to sound art, establishing overlaps and compatibilities which are perhaps overlooked in the current trend to consider these two genres incompatible. Two issues in particular are considered: compositional (especially mimesis and the construction of image, and what shall be termed ‘ephemeral narrative’) and presentational (in particular multichannel speaker deployment). While exploring several relevant works within this discussion, by way of a case study the article introduces the author’s GRIDs project – a series of four multichannel sound sculptures united in their arrangement in geometric arrays of many (in some cases potentially hundreds of) loudspeakers. These permit, by virtue of being so massively (and geometrically) multichannel, the generation of extremely intricate spatial sound environments – fabricated landscapes – that emerge directly from an acousmatic compositional aesthetic. Owing to their alternative means of presentation and presentation contexts, however, they offer very different experiences from those of acousmatic music encountered in the concert hall. So the latter part of this article explores the various ways in which the listener might engage with constructed image space within these sound sculptures, along with the relationship of the audio content of each with its visual and situational setup – that is, its environment.

scholarly journals The Compleat Concert Hall: A Case Study in Concert/Recital Hall Acoustics

1973 ◽  
Vol 54 (1) ◽  
pp. 279-279
Author(s):  
R. Lawrence Kirkegaard ◽  
C. W. Barrow
Keyword(s):  
Concert Hall

scholarly journals Glenn Gould in six scenes

2021 ◽  
pp. 54-84
Author(s):  
Adam Behan
Keyword(s):  
Self Care ◽  
Musical Culture ◽  
Recording Studio ◽  
Concert Hall ◽  
Musical Philosophy ◽  
Caring Relations

Glenn Gould’s legacy revolves around his retirement from the concert hall in 1964. Studies of his artistry often reflect on that by following a particular impulse: to seek out the rational underpinnings of this decision and to explain them in terms of a larger technological or aesthetic vision. Drawing in particular on the work of Virginia Held and Sara Ahmed, this article conceptualises Gould’s abandonment of the concert hall as an act of self-care, a mechanism for coping with the increasingly intrusive and exploitative celebrity musical culture into which he was catapulted as a young musician. Thus, this article frames Gould’s self-care in terms of six overlapping scenes, as he performed in the concert hall and recording studio, in interviews and essays, and in front of the camera as photographic subject and television actor, culminating with a case study based on an excerpt from Bruno Monsaingeon’s documentary Glenn Gould: The Alchemist. The study concludes by suggesting that Gould’s artistic choices (and achievements) had much more to do with cultivating caring relations that allowed him to thrive than they did with an individual pursuit of a grand musical philosophy.

Excellent acoustics and a low RT? A case study of the recent renovation of the Kennedy Center Concert Hall, Washington, DC

1999 ◽  
Vol 105 (2) ◽  
pp. 987-987
Author(s):  
Christopher Jaffe ◽  
Paul Scarbrough ◽  
Russell Cooper ◽  
Pamela Clements
Keyword(s):  
Washington Dc ◽  
Concert Hall

Iconic architecture and place-specific neoliberal governmentality: Insights from Hamburg’s Elbe Philharmonic Hall

Urban Studies ◽  
2017 ◽  
Vol 55 (5) ◽  
pp. 997-1012 ◽  
Author(s):  
Jan Balke ◽  
Paul Reuber ◽  
Gerald Wood
Keyword(s):  
Urban Policy ◽  
Political Regime ◽  
Local Policy ◽  
Concert Hall ◽  
Profound Impact ◽  
The Public ◽  
Neoliberal Governmentality ◽  
Architectural Production ◽  
Policy Objectives

As a global travelling idea, iconic architecture plays an increasingly important role within transnational urban policy discourses. Nonetheless, the locally specific geographies of governmental rationalities and technologies often remain vague and inexplicit, although they have a profound impact on the powerful processes of iconic architectural production. This aspect can be made particularly clear with regard to the case study of Hamburg’s Elbe Philharmonic Hall – the new iconic concert hall on Hamburg’s redeveloped waterfront. Thus, the case study on hand emphasises the locally distinct ways in which place-specific ‘arts of government’ are tied to contemporary processes of neoliberal urbanisation. Drawing on the Foucauldian notion of governmentality, the paper first lays open the contingent rationalities of the Elbe Philharmonic Hall project and discloses how fundamental transformations within geopolitical and geo-economic discourses gave rise to local policy objectives that emphasise the need to translate Hamburg’s urban change into an ‘adequate’ urbanistic shape. Second, the paper reflects on how place-specific discourses and practices of civic commitment and patronage become instrumentalised for the public legitimation and political enforcement of the project and thus become integral parts of a post-political regime of neoliberal governmentality.

Beacons of Sound

2019 ◽  
pp. 700-716
Author(s):  
Martin Knakkergaard
Keyword(s):  
First Century ◽  
Concert Hall ◽  
Musical Sound ◽  
Cultural Processes ◽  
Concert Halls ◽  
Twenty First Century ◽  
Private Investors

Martin Knakkergaard discusses expectations and imaginations vis-à-vis the concert hall of the twenty-first century. The chapter outlines some of the central historical implications of Western culture’s haven for sounding music and its impact on the understanding of the musical phenomenon as an element in societal and cultural processes. Based on his case study of the Icelandic concert house Harpa, Knakkergaard considers how these implications, together with the prime mover’s visions, have been transformed as private investors and politicians take over. Throughout, Knakkergaard investigates the objectives required of musical sound and the far-reaching demands of the acoustics that modern concert halls must necessarily meet.

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