Organ acoustics and the concert hall

Abstract

Providing an optimal acoustical environment for a pipe organ requires close collaboration between organ builder and acoustical consultant throughout the design process. Each brings unique and complementary perspectives to this subject. The organ builder offers not only a knowledge of the instrument but often a wealth of practical acoustical experience from a multitude of specific organ installations. The acoustical consultant offers extensive knowledge of acoustical principles as well as an understanding of how these must be interpreted and applied in architectural design. The authors discuss the nature of their design collaboration on recent projects and in the process examine a broad range of issues including: preferred reverberation and frequency response characteristics for organ, the essential balance between reverberation and clarity, ideal placement of the organ within the concert room, differences between spaces dedicated to organ and those that also accommodate instrumental and choral ensembles, and the importance of proper sound isolation and quiet ambient environments. The authors cite relevant aspects of their projects including the Kennedy Center Concert Hall, Severance Hall, the Weidner Center at the University of Wisconsin at Green Bay, and Holzclaw Hall at the University of Arizona.