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Books on the topic 'Auditoriums Architectural acoustics'

Author: Grafiati
Published: 4 June 2021
Last updated: 21 February 2023

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1

Makrinenko, L. I. Acoustics of auditoriums in public buildings. Woodbury, NY: Published for the Acoustical Society of America through the American Institute of Physics, 1994.

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2

Duncan, Templeton, ed. The architecture of sound: Designing places of assembly. London: Architectural Press, 1986.

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3

Auditoria: Designing for the performing arts. London: Mitchell, 1987.

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4

Auditorium acoustics and architectural design. London: E & FN Spon, 1993.

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5

Auditorium acoustics and architectural design. 2nd ed. London: Taylor & Francis, 2010.

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6

Fuchs, Guillermo L. El auditorium como instrumento musical integrador. Córdoba, R.A: Facultad de Arquitectura y Urbanismo, Universidad Nacional de Córdoba, 1989.

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7

Auditoria: Designing for the Performing Art. Van Nostrand Reinhold, 1987.

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8

Barron, Michael. Auditorium Acoustics. Spon Press, 2003.

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9

Barron, Michael. Auditorium Acoustics and Architectural Design. Taylor & Francis Group, 2009.

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10

Barron, Michael. Auditorium Acoustics and Architectural Design. Taylor & Francis Group, 2009.

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11

Barron, Michael. Auditorium Acoustics and Architectural Design. Taylor & Francis Group, 2009.

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12

Barron, Michael. Auditorium Acoustics and Architectural Design. Spon Press, 2009. http://dx.doi.org/10.4324/9780203874226.

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13

Barron, Michael. Auditorium Acoustics and Architectural Design. Taylor & Francis Group, 2009.

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14

Barron, Michael. Auditorium Acoustics and Architectural Design, Second Edition. Taylor & Francis Group, 2009.

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15

Zur Nieden, Gesa. Symmetries in Spaces, Symmetries in Listening. Edited by Christian Thorau and Hansjakob Ziemer. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190466961.013.16.

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Abstract:
Based on the importance of the concept of symmetry in French sociological aesthetics circa 1900, this chapter analyzes the convergence of theaters, musical form, and musical understanding. The analysis focuses on architectural shape, audience response, and the musical repertoire in the new theaters built in Barcelona (1847), Paris (1862), and Rome (1880). While these theaters were fashioned after the baroque form of the “teatro all’italiana” that prevailed in Italy, France, and Spain during the late nineteenth century, they provided huge spaces accommodating a socially mixed audience within an architecturally symmetrical form. Music critics often aligned acoustic sound waves with actual visibility in the auditorium, and semicircular structures in the scenography on stage may have affected the reception of the musical performance. The newly built theaters arrived at a time when the “classical” music scene and a certain canon was developed, opposing the more “intellectual” audiences and repertories of contemporary music.
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