Abstract
Wallace Sabine posited sound in a room to be a uniform field, in equilibrium, varying but slowly with respect to time required to traverse the space: the “reverberant” field. It easy to demonstrate that such is not so, especially in rooms like occupied concert halls. But then, Sabine designed the Boston Symphony Hall, a paradigm of acoustic excellence. If that hall be regarded as a physics experiment, never has it been replicated by Sabine’s followers, even with extensive emendations to his concept of reverberation. The real physics of concert halls involves non-equilibrium manifestation of physical acoustics with respect to bounding surfaces, particularly proximity effects on stage and resonant scattering about the audience.
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