The Preservation and Use of Historic Musical Instruments: Display Case and Concert Hall

2006 ◽  
Vol 51 (4) ◽  
pp. 319-320
Author(s):  
Louise Bacon
Keyword(s):  
Musical Instruments ◽  
Concert Hall

Timbre Discrimination of Musical Instruments in a Concert Hall

1992 ◽  
Vol 10 (1) ◽  
pp. 43-62 ◽  
Author(s):  
Pamela J. Goad ◽  
Douglas H. Keefe
Keyword(s):  
Power Level ◽  
Musical Instrument ◽  
Musical Instruments ◽  
Mean Power ◽  
Concert Hall ◽  
Physical Attributes ◽  
The Mean ◽  
Timbre Discrimination ◽  
Musical Context

The effects of musical context and musical instrument characteristics on timbre discrimination in a concert hall were examined. Isolated tones and six-tone melodies were recorded in two different locations of a concert hall using five musical instruments. Each trial consisted of either a pair of tones, or a pair of melodies, which had been recorded simultaneously at the two locations on the same instrument. No significant differences were found between responses for isolated tones and responses for melodies. Musical instrument characteristics did prove to be significant, with listeners best able to discriminate flute tones, followed in order by clarinet, trumpet, viola, and marimba. In a follow-up analysis, five physical attributes of each instrument were tested for their contribution to the predictability of the discrimination scores. Variance with respect to the mean power level of the sustained portion of a tone was found to be the dominant contributor of the total variance of subjective responses, and this implicates differences in the early reflection sequence of the room impulse response as a contributor to timbral discrimination.

scholarly journals CREATING AN INTERACTIVE MUSICAL EXPERIENCE FOR A CONCERT HALL

2018 ◽  
pp. 143-152
Author(s):  
Svitlana Antoshchuk ◽  
Mykyta Kovalenko ◽  
Jürgen Sieck
Keyword(s):  
Augmented Reality ◽  
Gesture Recognition ◽  
Classical Music ◽  
Musical Instrument ◽  
Musical Instruments ◽  
Musical Experience ◽  
Finger Movements ◽  
Concert Hall ◽  
Augmented Reality Technology ◽  
Posture Recognition

In this paper we introduce a Kinect based posture recognition approach that can classify the user’s pose and gesture and match them to a set of predefined musical instruments. The efficiency of the approach is then demonstrated using two applications. The Virtual Orchestra system uses pose- and gesture-recognition along with Augmented Reality technology to add a virtual musical instrument into the scene, both visually and audibly: the visual representation of the instrument is placed into the user’s hands and the sound of the corresponding instrument is played. An additional functionality is that the user can control the intensity and the pitch of the sound by changing the speed of his hand or finger movements. The Magic Mirror game is the second application developed for the Berlin Concert Hall that uses the posture recognition approach to introduce the visitors to some classical music pieces and familiarize them with various classical musical instruments.

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.

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