Since the that W. C. Sabine (1900) defined the reverberation time as an objective quantity for the acoustic behavior of a room, acousticians have been interested in describing the quality of concert halls and opera houses through physical measurements and then finding connections between these measurements and the subjective impression of listeners and musicians. In the following decades, many additional criteria have been developed for describing the effects of direct sound, reverberation, and particularly the early reflections. It is of great merit that in the 1960s, Leo L. Beranek collected and published measurement data and comments from a multitude of concert halls which stimulated an international discussion (Beranek, 1962). Since that he has continuously updated this collection along with a special ranking system for the quality of concert halls based on the best current knowledge (Beranek, 2004).These contributions have enabled his international colleagues to compare existing and newly built halls and to draw conclusions for the design of their own projects. It is therefore not surprising that during the decades between 1960 and 2010, the fundamental concepts and particularly the shapes of the new-designed halls shifted from the hexagonal and fan-shaped halls with a rather low ceiling height of the 1960s and 1970s to more shoe-box halls or halls with surrounding audience which have been preferred from the 1980s onward (Meyer, 2011). This trend may been seen as a logical consequence of Beranek's suggestion that the initial-time-delay gap, the delay between the direct sound and the first arriving reflection, should be delayed not more than 30 ms from any direction (Beranek, 1962), in combination with later suggestions from others that the first lateral reflection should arrive before the first medial reflection from the ceiling (Barron, 1971; Marshall, 1967).Furthermore one should not ignore the fact that the preferences of listeners can vary with time. It has been found that most listeners fall into two distinct groups who disagree when judging the sensation of strength and expansion of the sound source. One group prefers a powerful sound (even if it is connected with a decrease of clarity in forte passages), and the other group always prefers high clarity- even if it is connected with lower loudness in higher dynamic ranges (Wilkens, 1975). From today's point of view, this two-part division might be explained by the possibility that the sound expectations of the first group was formed by the spatial sound impression of live concerts, and that the second group predominantly listened to records.Recent more detailed studies with a loudspeaker orchestra confirm this division of the audience into two groups based on their preferences. Using a method of sensory evaluation, the single attributes named by individual listeners have been compiled into clusters through multiple-factor analysis. The result revealed that one group of listeners liked a relatively intimate sound, in which it is quite easy to hear individual instruments and melody lines. The other group preferred a louder and more reverberant sound with good envelopment and strong bass (Lokki, Patynen, Kuusinen, & Tervo, 2012, p. 3148). Remarkably, for all listeners, subjective proximity was the attribute most highly correlated with average preference ratings.During the past decades, an additional differentiation between the two groups of listeners can be found by asking them for their motivation to attend concerts: it can be based on the program, that is, the attraction of the performed compositions, or on the desire for meeting great stars. The latter includes not only the performers, but-in the of festival tourism-attractive concert halls too. For many of these people, I believe that the architectural extravagance of the halls seems to be more important than excellent acoustics.It is an essential part of today's knowledge of the acoustical demands for good halls that the performing orchestral musicians need good conditions for mutual hearing (Dammerud, 2009), and that the conductors should be able to control the tonal1 balance of the instrumental sections as well as to get an impression of the spaciousness in the hall (Meyer, 2008). …
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