Spatial Acoustics

Ziemer, Tim

doi:10.1007/978-3-030-23033-3_6

Tim Ziemer⁵

Part of the book series: Current Research in Systematic Musicology ((CRSM,volume 7))

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Abstract

Appropriate room acoustics are a necessity for music performance. Good room acoustics support the direct sound of musical instruments and ease ensemble playing. Minimal geometric and architectural requirements are well-established. Music experts who are familiar with multiple concert halls evaluated their acoustical characteristics from the viewpoint of performers and the audience. This inter-subjective impression can be explained to some degree by acoustic parameters derived from room impulse responses. It could be shown that the best-rated concert halls are exhibit the highest degree of spaciousness. Spatial impressions, like listener envelopment and apparent source width correlate significantly with objective parameters, like the binaural quality index and the lateral energy fraction. However, many causal relationships are still to be found.

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Notes

1.
See Ahnert and Tennhardt (2008), p. 182.
2.
Loosely translated from David jr. (1988), p. 158. The influence of room acoustics on composition and performance practice is discussed in Sect. 2.2.
3.
See e.g. Berkhout et al. (1993), p. 2764 and Horbach et al. (1999), p. 6.
4.
See Ahnert and Tennhardt (2008), Fuchs (2013), Knudsen (1988) and Blauert and Xiang (2009).
5.
See Forsyth (1985), p. 235.
6.
According to Fuchs (2013), p. 221–223.
7.
As implemented e.g. in the Loyola concert hall and the Jupiter Hall Neuss, see Abdou and Guy (1996) and Blauert (1997) for detailed descriptions.
8.
Cf. Everest and Pohlmann (2009), p. 389.
9.
See Everest and Pohlmann (2009), p. 230–250.
10.
By \(>5^\circ \), see Blauert and Xiang (2009), p. 166.
11.
See Klepper (2008).
12.
That is incidence angle \(\vartheta \) equals the reflection angle \(\vartheta '\).
13.
See Mechel (2013).
14.
See e.g. Ahnert and Tennhardt (2008), pp. 244ff.
15.
See e.g. Vorländer (2008), pp. 175ff, Ahnert and Tennhardt (2008), pp. 242ff, Vassilantonopoulos and Mourjopoulos (2003), Choi and Fricke (2006), Vigeant and Wang (2008), Rindel et al. (2004).
16.
See e.g. Gade (2007), p. 316, Blauert (2005), pp. 14ff, Bleda et al. (2005), Wenzel et al. (2000) and many more.
17.
A complete description is given in Bader and Schneider (2011).
18.
See Weinzierl (2008), Lombardo et al. (2005, 2009).
19.
See Bergeron-Mirsky et al. (2010).
20.
See Pelzer et al. (2012), p. 2380.
21.
See Meyer (1977).
22.
See e.g. Vigeant and Wang (2008), Rindel et al. (2004) and Otondo and Rindel (2005).
23.
See Deutsches Institut für Normung (2004, 2009).
24.
See Gade (2007), p. 304.
25.
As done, e.g., by Bradley et al. (2000) and Okano et al. (1998). Detailed information on auralization is given, e.g., in Vorländer (2008).
26.
Particularly Beranek (1996, 2004), Kuhl (1978), partly verified or revised by Winkler and Terhardt (1988), Barron and Lee (1988), Bradley et al. (2000), Okano et al. (1998), Okano (2002), Morimoto et al. (2007), Martellotta (2010) and Lokki et al. (2012) and summarized by Abdou and Guy (1996), Gade (2007), Meyer (2009), Ahnert and Tennhardt (2008), Vorländer and Mechel (2008), Kuttruff (2009) and Fuchs (2013).
27.
According to Kuttruff (2009), p. 237.
28.
See e.g. Meyer (2009), p. 189 or Fuchs (2013), pp. 155ff.
29.
The equivalent absorption area is the sum of all areas times their individual absorption coefficient. \(\tilde{S}=0\equiv 100\)% absorption, \(\tilde{S}=1\equiv 0\)% absorption.
30.
See Gade (2007), p. 308 and Kuttruff (2009), p. 230.
31.
See Beranek (2004), pp. 409f and p. 506.
32.
See e.g. Gade (2007), p. 310.
33.
See Ahnert and Tennhardt (2008), p. 204.
34.
According to Gade (2007), p. 309.
35.
Which basically means weighting lower frequencies considerably less than midrange frequencies, to resemble loudness perception of low-amplitude sound, see e.g. in Zwicker and Fastl (1999), pp. 203ff.
36.
See Beranek (2004), pp. 512f.
37.
See Gade (2007), p. 311.
38.
See Beranek (1996), p. 285.
39.
See Everest and Pohlmann (2009), p. 385.
40.
See Ahnert and Tennhardt (2008), p. 188.
41.
See Beranek (2004), p. 24 and Vorländer and Mechel (2008), p. 941.
42.
See Beranek (2004), p. 29.
43.
See Kuhl (1978), p. 168.
44.
See e.g. Kuhl (1978), p. 168.
45.
See Beranek (2004), p. 29.
46.
See Okano (2002), pp. 217ff, Beranek (2004), p. 518 and Kuhl (1978), p. 168.
47.
See Lokki et al. (2012)
48.
See Okano et al. (1998).
49.
See Morimoto et al. (2007).
50.
According to Ahnert and Tennhardt (2008), pp. 203f.
51.
As suggested by Okano (2002), Beranek (2004), p. 7 and Okano et al. (1998).
52.
See Ziemer (2011), Ziemer (2015).
53.
See Bradley et al. (2000).
54.
See Ouis (2003).
55.
See Beranek (2004), p. 528
56.
See e.g. Blau (2004) and Gade (2007), p. 310.
57.
See e.g. de Vries et al. (2001), Gade (2007), p. 310 and Kuttruff (2009), p. 241.
58.
See de Vries et al. (2001).
59.
See Ando (2010), pp. 127ff.
60.
See Abdou and Guy (1996), pp. 3217f.
61.
Commonly adopted, e.g. by Everest and Pohlmann (2009), p. 388.
62.
See Beranek (2004), pp. 512f.
63.
See Abdou and Guy (1996) and Gade (2007), p. 310.
64.
See e.g.Everest and Pohlmann (2009), p. 386, who only considers the 2000 Hz frequency band in the numerator, and Gade (2007), p. 310.
65.
See Beranek (2004), pp. 521ff.
66.
Derived from tables in Abdou and Guy (1996), p. 3224-3225 and Gade (2007), p. 312 and from values in Everest and Pohlmann (2009), pp. 386ff and Blauert and Xiang (2009), p. 174 and in the literature named in the introduction of this section.
67.
See e.g. Ando (2010) and Ando (2007).
68.
See Vorländer (2018), p. 212.

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Institute of Systematic Musicology, University of Hamburg, Hamburg, Germany
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Ziemer, T. (2020). Spatial Acoustics. In: Psychoacoustic Music Sound Field Synthesis. Current Research in Systematic Musicology, vol 7. Springer, Cham. https://doi.org/10.1007/978-3-030-23033-3_6

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DOI: https://doi.org/10.1007/978-3-030-23033-3_6
Published: 07 August 2019
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