Performance Halls Research Articles

Acoustic dynamics in performance halls: Enhancing violin sound quality in the FPSD orchestra room

With an emphasis on improving violin sound quality, this study explores the acoustic dynamics of the FPSD Orchestra Room at Universitas Pendidikan Indonesia. Direct and reflected sound are the two factors that impact the phenomena of interior sound. This research emphasizes the crucial balance between sound absorption and reflection to optimize the acoustic environment and ensure clarity and richness in violin performances. Improving acoustic conditions is vital to increase audience experience and performance quality. The study used a qualitative descriptive research style combining literature review and observations. The research site was the FPSD Orchestra Room, renowned for its historical significance and contribution to music education. The observations revealed significant acoustic obstacles that adversely affected the violin sound's clarity, including excessive reverberation and unequal sound dispersion. The literature review revealed the theoretical underpinnings of sound propagation, reverberation, absorption, reflection, and diffraction. The acoustic environment can be greatly enhanced by introducing sound-absorbing materials to optimize reverberation duration, controlling reflections with diffusers, and utilizing adaptive acoustic systems. Furthermore, combining virtual acoustics technology with digital sound processing systems allows for dynamic control over acoustic parameters, increasing the performance space's adaptability. These improvements provide a customized acoustic environment that supports a variety of musical performances and guarantees the audience a clear, engaging auditory experience. This study emphasizes the significance of fusing cutting-edge technology innovations with conventional acoustic design concepts to attain optimal sound quality in performance halls. Innovation and research must never stop to improve these acoustic settings even further.

Multi-use of small performance halls – case studies of modern cultural facilities in Poland

Contemporary architecture is expected to meet not only functional goals and high aesthetic quality, but also to take into account changing social needs, which is in line with the trend towards sustainable building. It is therefore important to consider the idea of multifunctionality when implementing new developments, especially in small towns. The subject of this paper is the analysis of three buildings in Wieliczka, Dąbrowa and Pszczyna, in which the aspect of multifunctionality was considered differently. At the same time, the discussed examples will benefit researchers, investors and designers alike, as they present specific architectural aesthetic and technological solutions related to the realization of small auditoriums – a subject that is rarely dealt with in scientific publications. The main aim of this paper was to draw attention to the need for an individual approach to the design process and a multi-criteria search for optimal design solutions for the hall, moving away from standardization. Finally, the realization of small multifunctional performance space fits in with the idea of sustainable development, which is based on combining the needs of the present generation with the ability to meet the needs of future generations.

국악공연장의 공연공간적 특성과 실태에 관한 연구

This study intends to lay the foundation for reviewing and discussing
 appropriate type of performance hall through a survey on the current status
 of gugak (Korean traditional music) performance halls. Furthermore, it aims to
 promote the development of gugak performances by establishing a
 performance environment where gugak performances can be enjoyed close to
 their original form. It analyzes the form of five gugak centers--National Gugak
 Center, National Folk Gugak Center, National Namdo Gugak Center, Busan
 National Gugak Center, and Seoul Donhwamun Gugak Center--which are
 currently operating as major gugak venues.
 The results of this study are as follows. First, most of the existing stages of
 gugak performance halls are in the form of prosinium. The reason is that it is
 generally the most commonly used form in concert halls, and it can be
 assumed that it was influenced by the form of Western concert halls. Second,
 based on the two-dimensional shape in which chairs are arranged, the most
 common types of seats in the gugak performance halls are horseshoe-shaped
 and shoebox-shaped. The reason why these appear most frequently is
 because, firstly, they are the most commonly used forms among performance
 halls, and secondly, it is presumed that they are the most effective forms
 when conveying the voice of the performer or considering acoustic
 characteristics. Third, unlike the Western stage, the contact and distance
 between the performer and the audience is very important for audience
 participation in gugak performance. In most types, it should be considered
 that the relationship between the viewer and the player is dynamically and
 three-dimensionally combined, rather than distinguishing between them. Fourth, the size of the stage and audience, the two-dimensional viewing
 angle, and the viewing distance vary depending on the type of performance.
 Therefore, it is necessary to specify the type of performance according to the
 performance hall or to suggest a performance hall that can be used variably.
 Fifth, considering the tendency of the latest performances, such many
 performances as instrumental music and pansori have been performed in
 small-scale performance halls. It can be inferred why the recently opened
 gugak concert halls such as Pungnyu Sarangbang and Donhawmun Gugakdang
 Hall are in small-scale. Sixth, there are three types of outdoor gugak
 performance halls: a circular shape like the Moonlight Yard of the Namdo
 Gugak Center, a long rectangular shape like the Starlight Yard of the Namdo
 Gugak Center, and a semicircular shape like the outdoor yard of the Busan
 Gugak Center.

Complexsystem 이론에 따른 지역문화 공연장 피난행태 개선에 관한 연구

Currently, Korea shares culture, economy, and society together as a member of the international community along with rapid economic growth. In particular, in the 2000s, the construction of local cultural performance halls has been promoted through efforts and methods for the development of local culture. As a result, many local governments built medium-sized or larger performance halls, and achieved both quantitative and qualitative effects by satisfying citizens and attracting visitors. However, this study aims to analyze the safety of the space used by many visitors at the same time and whether an effective evacuation plan is applied to frequent disasters and disaster situations in recent years.

OTT구독료 소득공제 도입 논의와 타당성 검토

Since the income deduction system for the expense amount of credit cards and cash receipts was first introduced at 「Restriction of Special Taxation Act」 in Korea, the benefits have also been expanded for traditional market use, public transportation use, and cultural expenditure. In particular, the cultural expense income deduction included the purchase of books and newspapers, ticket payment for performance halls and museums, and the purchase of movie tickets from July this year. In addition, the Ministry of Culture, Sports and Tourism ordered research services to incorporate OTT monthly subscriptions into credit card deductions as cultural expenses, and the National Assembly proposed a partial revision to the 「Restriction of Special Taxation Act」 in July this year. This is because tax cuts on OTT subscription fees can help not only promote people's cultural life but also secure the competitiveness of the OTT industry.
 Tax reductions should be able to take effective measures to achieve the policy objectives pursued by the government, along with a close review of the effects of each income class from the perspective of tax egalitarianism. However, the current credit card income deduction system aims to reveal the tax base of businesses rather than reduce the tax burden on the people, and there is a limit to continuously and stably operating the system due to the limitation of the sunset period under the 「Restriction of Special Taxation Act」.
 Therefore, tax cuts for OTT subscriptions should be legislated in consideration of the improvement of the system to maintain the current cultural expense deduction in preparation for the reduction or abolition of credit card income deductions in the future. In the long run, it is necessary to consider revising the 「Income Tax Act」 etc, not the 「Restriction of Special Taxation Act」, to introduce tax benefits for cultural expenditures as special tax credits or to designate them as VAT exemptions. On the other hand, tax cuts for companies should also be designed to benefit from the revitalization of the cultural content industry. However, in order to prevent tax avoidance of overseas companies, it is necessary to incorporate it into a system that can manage the sales of OTT subscriptions of the operator, such as the current cultural expense income deduction system used by the Ministry of Culture, Sports and Tourism.

Developing a virtual reality application for cultural heritage and room acoustics education

We tend to use visual factors, such as architectural styles, features, specific decorations, and historical contexts, to characterize cultural heritage. Sound is a transient, ethereal phenomenon that tends to be neglected in historical records. While photographs and drawings can preserve the visual aspect of a building or scene, documenting the sonic impact of the spaces is more complicated. Particularly, the historic places used for sonic activities, such as music halls, performance halls, and worship spaces, are essential to document and preserve the acoustic qualities. An immersive experience using virtual reality (VR) technology effectively promotes public awareness about cultural heritage's importance. It simulates the room acoustics using spatial audio technology. It also can make the VR environment interactive to manipulate architectural features that change the room acoustics such as room volume, finish materials, reverberation time, and sound barrier. The main goal of this paper is to develop a VR application that can be used as a template to create a VR environment where 3rd to 8th-grade students navigate and learn about the history and architectural features of cultural heritage and the basics of room acoustics using a Quest headset.

A New Model of Dance Performance Art—Performance Analysis of Metaverse Application

This study reflects the explosive increase in interest and demand for online performance distribution after COVID-19, in contrast to the existing perception of only performance halls or festivals as a distribution channel for performing arts, and a new paradigm and new method of performing arts distribution. Let’s take a look at the future prospects of performance distribution in the metaverse. When performing in the metaverse, a virtual space, the background desired by the choreographer can be easily implemented with digital technology, and while new spaces that cannot be experienced in the real world can be realized in the virtual world, a set to decorate the stage, and facilities such as sound and lighting equipment. It is not very necessary, so it can be seen as the scalability of space expansion. In addition, the collaboration between the avatar industry, which is a virtual character in the game, and the performance industry can be seen as an expansion of multidisciplinary arts as a new place where performance audiences of a new era gather and a communication industry where feedback from performance audiences is possible. Lastly, through NFT of digital contents, great scarcity will be granted through metaverse, a new market, which will expand the scope of performance distribution. As a result, at the present time when a new culture is emerging through the combination of platforms and contents in the metaverse, a virtual space, there is a great potential for development of performance distribution in the metaverse. It is believed to be essential for development.

Developing a virtual reality application for cultural heritage and room acoustics education

We tend to use visual factors, such as architectural styles, features, specific decorations, historical contexts, etc., to characterize cultural heritage. Sound is a transient, ethereal phenomenon that tends to be neglected in historical records. While photographs and drawings can preserve the visual aspect of a building or scene, documenting the sonic impact of the spaces is more complicated. In particular, the historic places used for sonic activities, such as music halls, performance halls, and worship spaces, are essential to document and preserve the acoustic qualities. An immersive experience using virtual reality (VR) technology effectively promotes public awareness about cultural heritage's importance. It simulates the room acoustics using spatial audio technology. It also can make the VR environment interactive to manipulate architectural features that change the room acoustics, such as room volume, finish materials, reverberation time, sound barrier, etc. The main goal of this paper is to develop a VR application that can be used as a template to create a VR environment where 3rd to 8th-grade students navigate and learn about the history and architectural features of cultural heritage and the basics of room acoustics using a Quest headset.

A Perspective on the Opera Audience of the 21st Century

"When it comes to contemporary audience of the opera, we have in mind a multitude of individuals with extremely diverse and heterogeneous cultural backgrounds, very different tastes and expectations related to the show and to the artists who perform on stage. Perhaps the famous Italian loggionisti who once made up the dreaded galleries, although still present, are no longer as influential as in the past centuries; and the splendid euphoria of the opera lovers from the 1950s and 1960s has faded. The extremely refined and knowledgeable elite is also becoming less numerous. But Opera still incites the interest of the public and arouses passions at the same time. Who is today's audience and what makes them attend and influence the Opera show? What are the managerial strategies for attracting new audience to the auditorium? The social distancing and the restricted access of the public in the performance halls during the recent coronavirus pandemic is also highlighted in the article. Keywords: Opera Audience, 21st Century, communication, audience reception "

가상현실을 통한 미적경험에 영향을 미치는 경험개방성의 조절효과와 현존감을 통한 진정성 지각의 매개 효과

Social distancing implemented to prevent the spread of COVID-19 has made it very difficult for people to enjoy and appreciate works of art the way we used to. In order to overcome these situational limitations, many artistic event organizers are paying attention to virtual reality technology. The technology allows potential visitors to appreciate artworks in realistic settings without visiting art galleries, museums, or performance halls in real life. This study shows that openness to experience of persons appreciating artworks has a positive effect on the perceived telepresence and authenticity of artworks presented using virtual reality technology. This study further shows that this improved telepresence and authenticity enhance overall aesthetic experience. Through two experiments, we demonstrate that openness to experience, an individual trait variable, acts as a moderating factor influencing aesthetic experience, and the path from perceived telepresence to authenticity mediates the effect of appreciating art through virtual reality on aesthetic experience. By providing a better understanding of the psychological process underlying the effect of appreciating art using virtual reality on aesthetic experience, this study contributes to the fields intersecting art and technology.

Severed Green: a Pandemic-Born Structure

An open letter signed by a large group of Romanian cultural NGOs and published in Scena.ro review (no. 49 (3)/2020) signaled the danger of disappearance of the entire independent cultural sector. The authors reported the authorities’ lack of involvement concerning this sector’s support during the pandemic crisis, the inability of those in a decisional position to understand how it functions or the fact that the artists working here are the innovators that the culture urgently needs. Indeed, the Coronavirus pandemic has hit hard the independent cultural sector, as well as the one formed by entrepreneurs, small or medium-sized businesses. The prolongation of the state of emergency, the new regulations concerning the functioning of performance halls at the capacity of 30-50-70% depending on the evolution of the pandemic have brought the cultural organizations at the brink of bankruptcy. The uncertainty of living and project continuity has existed in our society even under what we now call ”normal conditions”, but in the last two years, this uncertainty increased dramatically. That is why the condition of the Romanian independent artist draws near to the precariat class - a concept widely theorized by the economist Guy Standing - who calls it a dangerous class by the authorities' tendency to ignore it, pushing it into the trap of insecurity, debt and humiliation. Most of the time, however, the freedom of creation is born of external constraints. Independent artists were once again forced to take risks and give birth to hybrid artistic experiments - new forms that renegociate the relationship with the spectators, space and even their own bodies. This presentation aims to analyze the manner in which the work on the show Severed Green (produced by Pro Theatre Association, Zalău, 2020) managed to propose a new dramaturgical direction, which the artistic team named it documented theatre. Situated at the congruence of documentary and classical forms, documented theatre represented a liberating discovery for the practitioners.

3D modelling and simulation of the dispersion of droplets and drops carrying the SARS-CoV-2 virus in a railway transport coach

Computational fluid dynamics (CFD) modelling and 3D simulations of the air flow and dispersion of droplets or drops in semi-confined ventilated spaces have found topical applications with the unfortunate development of the Covid-19 pandemic. As an illustration of this scenario, we have considered the specific situation of a railroad coach containing a seated passenger infected with the SARS-CoV-2 virus (and not wearing a face mask) who, by breathing and coughing, releases droplets and drops that contain the virus and that present aerodynamic diameters between 1 and 1000 µm. The air flow is generated by the ventilation in the rail coach. While essentially 3D, the flow is directed from the bottom to the top of the carriage and comprises large to small eddies visualised by means of streamlines. The space and time distribution of the droplets and drops is computed using both an Eulerian model and a Lagrangian model. The results of the two modelling approaches are fully consistent and clearly illustrate the different behaviours of the drops, which fall down close to the infected passenger, and the droplets, which are carried along with the air flow and invade a large portion of the rail coach. This outcome is physically sound and demonstrates the relevance of CFD for simulating the transport and dispersion of droplets and drops with any diameter in enclosed ventilated spaces. As coughing produces drops and breathing produces droplets, both modes of transmission of the SARS-CoV-2 virus in human secretions have been accounted for in our 3D numerical study. Beyond the specific, practical application of the rail coach, this study offers a much broader scope by demonstrating the feasibility and usefulness of 3D numerical simulations based on CFD. As a matter of fact, the same computational approach that has been implemented in our study can be applied to a huge variety of ventilated indoor environments such as restaurants, performance halls, classrooms and open-plan offices in order to evaluate if their occupation could be critical with respect to the transmission of the SARS-CoV-2 virus or to other airborne respiratory infectious agents, thereby enabling relevant recommendations to be made.

Said the Hooker to the Thief

Said the Hooker to the Thief

공연예술 상품 소비자들의 선택속성이 구매만족과 고객충성도에 미치는 영향

The purpose of this study was to accurately grasp the service attributes provided in art performance halls. The analyzed service attributes were conducted to develop a service marketing strategy for market and customer satisfaction. The tool of the study is a questionnaire. In order to achieve the purpose of the study, measurement tools for each concept used in previous studies were secured, and then reconstructed and used to suit the purpose of the study. The attributes of customers

Converted Structures: Exploring Material Expressions of the Sacred and Secular

Background Increasingly across the Western world, traditional religious buildings are being converted for secular use, like housing, restaurants, or performance halls. At the same time, congregations are appearing in formerly secular spaces, adapting old shopping malls, storefronts, and movie theaters for their spaces of worship. Purpose This study employs a novel methodology to identify where these hybrid buildings are located and to explore what these buildings might mean in the context of the American religious landscape. Methods Using a database of addresses identified as potential converted structure candidates, I conduct one of the first known attempts to systematically identify these building conversions. I employed the Google Street View tool to locate these buildings in six mid-sized cities in the United States. Once these buildings had been located, I collected visual data of the exteriors using Google Street View and identified the presence of sacred and secular formal and functional elements present in the buildings. Results Based on the formal and functional elements identified in each conversion, I expanded Hackworth and Gullikson's (2013) typology for converted structures to include eight potential categories of conversion, five of which are represented by cases from my sample. I located 175 secular-to-sacred building conversions and 12 sacred-to-secular building conversions. Of the 175 secular-to-sacred building conversions, 89 buildings fell into the “secular form, mixed function” category, while 86 fell into the “secular form, sacred function” category. Of the 12 sacred-to-secular building conversions, 10 fell into the “sacred form, secular function” category, while 2 fell into the “mixed form, secular function” category. Additionally, while not an initial focus of this study, my sample included 2 building conversions that fell into the “sacred form, sacred function” category, revealing the third direction of building conversion: sacred-to-sacred. Conclusions and Implications While these findings are limited in their scope, I argue that continued exploration of these structures by expansion of this methodology and the addition of ethnographic research foreground the interaction between material objects and human relationships in the construction, deconstruction, and preservation of sacred and secular boundaries.

Optimized diffusers for shoe-box shaped performance halls

Sound diffusion is a very important parameter in an overall assessment of the quality of an auditorium. This is why, the use of sound diffusers, especially sound phase diffusers, has been gaining more and more popularity. The most common structures are PR and QR diffusers. However, it was noted that the diffusers should be designed not only based on their diffusion and scattering coefficients, but also other parameters (e.g. sound absorption) determined with regard to the location of a diffuser in an auditorium. In this paper, the optimization algorithms are used for the designs of the diffusers. Different objective functions are proposed, depending on the locations of the diffusers in a typical shoe-box shaped performance hall, i.e., minimizing sound absorption coefficient, reduction of specular reflection, and intentional redirection of reflections. In the paper, a structure of 2 × 11 wells of amaximum depth of 0.15 m, and of a total width of 0.6 m is optimized. The final structures are significantly better than the commonly used PR and QR diffusers of similar dimensions in terms of the acoustic performance, with regard to their location. The presented methodology can be used for designing precise sound diffusers made of different base elements, e.g., quarter-wave diffusers or metamaterials, specific for each application.

공연 관객 드레스 코드 인식 차이에 관한 연구 : 공연장 규모와 공연 장르 속성을 중심으로

이 연구는 공연 관객들의 드레스 코드가 공연 장르와 공연장 규모를 중심으로 어떻게 포지셔닝 되는지 살펴보고자하였다. 장르는 공연 소비에 기초가 되는 정보로 공연 특성을 설명하는 상징적 유형이고 공연장은 공연의 특성을 담는물리적 공간이다. 관객은 공연을 선택할 때 이 두 가지 정보를 인식하고 상황에 적절한 드레스 코드를 선택한다는 것이이 연구의 주요 논지이다. 연구를 수행하기 위해 소공연장과 대공연장 두 개의 자극물을 나누고 장르별(뮤지컬, 연극, 콘서트, 클래식/전통음악, 무용/발레, 마술/서커스)로 드레스 코드 유사성을 평가하여 다차원척도법(MDS)으로 시각화하였다. 그 결과 공연장 규모에 따른 드레스 코드의 인식 차이로 서로 그룹화될 수 있는 장르들이 구분되었으며, 그러한인식 차이가 나타나는 이유에 대해 고찰하였다. 연극, 뮤지컬, 콘서트 공연은 대중문화상품의 경계에서 하나의 드레스코드 그룹의 인지를 형성하고 있으며 클래식/전통음악, 무용/발레는 고급문화상품의 경계에서 하나의 그룹으로 인지되고 있는 것으로 나타난다. 다만, 소공연장보다 대공연장에서 드레스 코드가 더 명확하게 구분되었다. 마술/서커스는 다른 장르들에 비해 특정한 드레스 코드로 느끼지 않는 것으로 보인다. 드레스 코드는 공연을 감상하는 개인의 신념, 취향, 감성 등을 구분하는 단서로서 집단화된 하나의 이미지를 드러낸다. 이러한 맥락에서 본 연구가 공연 참여 행동에관한 또 하나의 단면을 제시하고 그에 적합한 관객개발 전략 수립하는데 필요한 자료로 활용될 수 있기를 바란다.

Beyond the time of the right care: A letter to the performance artist

Abstract The text addresses the performance artists with a special care for them and, even more so, caring with them in these peculiar COVID times when performance halls are empty. Bojana Kunst asks them how they imagine the time beyond as experts on micro-relations.

Les théâtres à Bordeaux sous la révolution: les luttes politiques sur la scène

At the end of the Ancien Régime, theatre in Bordeaux was particularly renowned due to the construction by Victor Louis of one of the most beautiful performance halls in France. This study aims to describe the theatrical activity during the Revolution and to show how theatres proliferated because control of the stage had become a real political issue. The theatre, indeed, was both an educational place for the emergence and propagation of the new ideas, a format convenient for ci-tizens, but also a closed space favourable to contestation. We also consider the consequences of this political activism on the actors.

On the performance of existing acoustic energy models when applied to multi-purpose performance halls

Acoustical measurements were done in two multi-purpose performance halls in the present study. The measured data are compared with predictions from three acoustic energy models in existing literature derived for churches and large reverberant theatres. Results show that the model suitable for the present multi-purpose performance halls is the one which takes into account the time difference between direct sound arrival and onset time of reverberant sound decay. However, unlike the church cases, the time difference appears to have no direct definite relationship with the source-receiver distance alone. A method for the prediction of time difference is then proposed for multi-purpose performance hall application. In addition, the prediction of the late reflected energy is not satisfactory, and this deficiency is the main problem leading to the inaccurate estimation of clarity, definition and centre time in the present study.