Concert Halls

pdficon_largeRecent multi purpose hall designs in Denmark with physically variable acoustics (1999). Two recent Danish multi purpose hall designs are described, in which acoustic variability has been accomplished in different ways: through variable absorption and variable volume respectively.

pdficon_largeThe influence of basic design variables on the acoustics of concert halls; new results derived from analysing a large number of existing halls (1997). Models describing how values of Strength, G and Clarity, C80, vary depending on measured reverberation time and room geometry has been derived based on acoustic investigations in more than 50 halls all over Europe and the UK.

pdficon_largeRenovation of Radiohuset, Studio 1, Copenhagen, Denmark (2001). Acoustic design and measurement results.

pdficon_largeRoom acoustic properties of concert halls; quantifying the influence of size, shape and absorption area (1996). Findings from analysis on correlation between geometric variables and the calculated acoustic parameters based on measured reverberation times in 53 halls.

pdficon_largeTrends in preference, programming and design of concert halls for symphonic music (2008). This paper discusses the evolution in taste regarding concert hall acoustics and how this can be reflected in the new halls being built today. There may be a desire for higher clarity as well as a more full reverberation than what is found in most existing halls.

pdficon_largeThe Queen’s Hall, The Royal library, Copenhagen, Denmark (1999). Acoustic design and measurement results.

Opera Halls and Theatres

pdficon_largeMatching simulations with measured acoustic data from Roman Theatres using the ODEON programme (2005). In the context of the ERATO research project (“identification, Evaluation and Revival of the Acoustical heritage of ancient Theatres and Odea”), acoustic measurements as well as computer simulations have been carried out in the Aspendos Theatre, Turkey and in the south theatre in Jerash, Jordan.

pdficon_largeCompromises in orchestra pit design; a ten year trench war in The Royal Theatre, Copenhagen (1998). In 1984 the orchestra pit on the “Old Stage” of The Royal Theatre in Copenhagen was enlarged and its size made flexible. This new flexibility soon caused a formal battle between orchestra, singers and management regarding how the pit should be configured for each new production.

pdficon_largeAcoustical Problems in Orchestra Pits; Causes and Possible Solutions (2001). On the basis of a study carried out by the authors on acoustic problems in the orchestra pit in The Royal Opera in Stockholm, this paper discuss possible reasons and solutions to the problems found in many orchestra pits today.

pdficon_largeRoman Theate Acoustics; Comparison of acoustic measurement and simulation results from the Aspendos Theatre, Turkey (2004). Room acoustic measurements have been carried out in the best preserved of all Roman theatres, the Aspendos Theatre in Turkey. The results are compared with simulated values from a rough as well as a very detailed ODEON model of the theatre.

pdficon_largeThe acoustic design of the new drama house for the Royal Theatre in Copenhagen (2008). Acoustic design and measurement results.

pdficon_largeAcoustic renovation of two danish theatres (2002). Around New Year 2002, two theatres in Denmark re-opened after substantial renovations. The two theatres are the theatre in “The Works” in Randers and The “New Stage” of the Royal Theatre in Copenhagen. In certain ways, the objectives behind these two renovation projects were opposites.

pdficon_largeAcoustic challenges in large opera houses (2007). In Copenhagen, Denmark, a new, large opera opened in 2005. For the opera company, which used to perform in a smaller theatre (The “Old Stage” of the Royal Theatre), this has given at least two challenges: 1) the singers are weaker as heard primarily by the singers themselves, and 2) and musicians playing in the pit feel an increased demand for playing louder in order to fill the larger auditorium volume with sound.

pdficon_largeAcoustics of ancient Greek and Roman theatres in use today (2006). During the EU funded “Erato” project and a subsequent master thesis project, extensive measurement data have been collected from four well preserved theatres, which represent different stages of enclosing the audience in an open air environment.

Orchestra Stages

pdficon_largePractical aspetcs of room acoustic measurements on orchestra platforms (1992). Room acoustic parameters for analysis of the performers’ room acoustic conditions were developed at the Acoustics Laboratory, Technical University of Denmark in 1982. Since then their use in research and consulting have given valuable experience regarding their advantages and limitations, which will be discussed in this paper.

pdficon_largeVidensgrundlag for udarbejdelse af vejledning om musik og høreskader: Vejledning for klassiske musikere (2007). Denne tekst opridser grundlaget for at udarbejde en strategi til sikring af klassiske musikere mod for høje lydniveauer. Efter en kort gennemgang af de klassiske musikinstrumenters lydudstråling beskrives lydniveauets afhængighed af afstanden til lydkilden. Betydningen af lydabsorbenter, pladsforhold, terrassering af orkesterpodiet og indføring af skærme mellem musikerne beskrives.

pdficon_largeSubjective and objective evaluation of suggested changes for improving stage acoustics in Göteborg Konserhus, Sweden (1995). Description of a full scale experiment, in which possible alterations were temporarily implemented and tested by the Gothenburg Philharmonic Orchestra members as well as by objective measurements.

pdficon_largeAcoustics for Symphony Orchestras; status after three decades of experimental research (2010). After one third of a century, it seems appropriate to summarize what we have learned from research on acoustic conditions for symphony orchestras and where we still need more knowledge. The paper will summarize major contributions to the field, discuss the differences in opinion in view of the limitations associated with different experimental approaches, and finally address the challenges related to meeting working environment requirements recently enforced by law in Europe for limiting the sound exposure levels of musicians.

pdficon_largeInvestigations of Musicians’ Room Acoustic Conditions in Concert Halls. Part I: Methods and Laboratory Experiments (1989). The first of two papers dealing with the relationships between the subjective room acoustic needs of performers of classical music and the objective properties of the sound field on orchestra platforms. Two room acoustic parameters for the impressions of support and ensemble conditions on orchestra platforms are suggested.

pdficon_largeInvestigations of Musicians’ Room Acoustic Conditions in Concert Halls. Part II: Field Experiments and Synthesis of Results (1989). The second of two papers dealing with the relationships between the subjective room acoustic needs of performers of classical music and the objective properties of the sound field on orchestra platforms. Three experiments in real halls are described with the purpose of illuminating the usefulness of the suggested parameters under more realistic conditions.

Electroacoustic Enhancement

pdficon_largePossibilities and limitations in the use of reverberation enhancement systems for small multi purpose halls (1995). Experience with design and testing of a reverberation enhancement system in a 450 seat multi purpose hall has revealed som practical and aesthetical limits of this powerfull tool for altering “room acoustic” properties.

pdficon_largeCan reverberation enhancement systems change perception of other room acoustic aspects than just reverberation ? (1999). In order to test the possibilities of early reflection/reverberation enhancement systems to create the illusion of a hall having a size and shape different from (often larger than) the physical hall at hand, a mock up of an enhancement system was created in an acoustically modified university auditorium.


pdficon_largeThe role of acoustics in the planning of performance halls in Copenhagen (2002). This paper describes the tendencies which influenced the acoustic demands set up in design competition briefs for the new Drama theatre for the Royal Danish Theatre and for the new Danish Radio concert hall. Also the unusual procedure applied in the choice of acoustical designer for the concert hall is mentioned.

pdficon_largeAcoustics in Halls for Speech and Music (2007). An excerpt from Springer Handbook of Acoustics.

pdficon_largeRecent experiments in using room acoustic scale models (2005). Experiences from acoustic scale models used in design of the Danish Radio concert hall and the Royal Danish Playhouse. Application of scale models in this era of still better and faster computer models.

pdficon_largeSpeaker comfort and increase of voice level in lecture rooms (2008). Teachers often suffer from health problems related to their voice. These problems are related to their working environment, including the acoustics of the lecture rooms. The main goals in this paper are to investigate whether objectively measurable parameters of the rooms can be related to an increase of the voice sound power produced by speakers and to the speaker’s subjective judgments about the rooms.