Abstract
An examination of the acoustical requirements of the orchestral horn section during rehearsal and performance serves as a point of departure for the design of performance platforms and orchestra pits. In addition to displaying an asymmetrical radiation pattern that is disadvantageously oriented to the right and rear of the player, the spectrum of the horn is easily masked by other sections of the orchestra. The instrument's timbre and physical placement within the orchestra are reviewed with respect to the historical evolution of orchestration and the architectural design of opera houses and concert halls. Contemporary difficulties with excessive loudness and ensemble are discussed. Architectural design criteria leading to a good performance environment for the horn section are suggested.
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