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In a well-designed concert hall, a large orchestra produces expansive sounds that envelop the listener in physical sound waves, creating unique auditory experiences. This biological "measuring device," developed during childhood, continuously processes sound without distinguishing between complexity levels. When the orchestra plays a sudden, loud chord after silence, the hall's immediate response, known as the onset of reverberation, occurs. The listener's auditory system must evaluate both the direct sound from each instrument and the sound reflections from the hall's surfaces. If these reflections reach the listener's ears within 50 ms of the direct sound, they are classified as early reflections. The resulting sound mixture is so intricate that the ear cannot distinguish it as separate events. From a well-placed seat, the listener perceives a singular, complex impression—termed a sound image—that is both wide and detailed, appearing suddenly. This subjective experience, characterized by its width, depth, and contrasts, defines the concert hall's acoustics and the orchestra's performance.
Acquisto del libro
Acoustics and hearing, Peter Damaske
- Lingua
- Pubblicato
- 2008
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- (In brossura)
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