Conveners
A16.05 Performing Arts Spaces and Rehearsal Rooms: S117
- Francesco Martellotta (Politecnico di Bari, DARCOD)
- Jamilla Balint (Rohde Acoustics)
A16.05 Performing Arts Spaces and Rehearsal Rooms: S250
- Jamilla Balint (Rohde Acoustics)
- Francesco Martellotta (Politecnico di Bari, DARCOD)
-
Georgios Papadimitriou (ETH Zurich)08/09/2026, 13:20A16 Room Acoustics
The expansion of immersive audio into multipurpose venues, such as extended reality facilities, music studios, and cinemas, poses a challenge to the reproducibility of spatial audio content. Unlike standardized listening rooms, these environments exhibit unique geometric and acoustic constraints. As a highly transportable and effective method for describing and reproducing sound fields,...
Go to contribution page -
Otavio Colella Gomes (Hochschule für Musik Detmold)08/09/2026, 13:40A16 Room Acoustics
The perceptual characteristics of early reflections in concert halls have been extensively studied using controlled experiments based on measured or simulated spatial room impulse responses (SRIRs). In contrast, the present study adopts an in-situ approach, in which participants were invited to the Detmold Concert Hall to evaluate perceptual changes induced by controlled modifications of the...
Go to contribution page -
Linus Staubach (Müller-BBM Building Solutions GmbH)08/09/2026, 14:00A16 Room Acoustics
The architectural and acoustic designs of concert halls influence their overall appearance and aesthetic appeal. However, it can be challenging to achieve both visual appeal and acoustic excellence. Concert halls are often categorized as vineyard or shoebox types, which are specified by the relationship between the orchestra and the audience, the surrounding surfaces, and the general shape of...
Go to contribution page -
Matthew Gray (Acoustics Research Centre)08/09/2026, 14:20A16 Room Acoustics
Overhead reflector (canopy) systems are critical in shaping the acoustic environment for symphony orchestras. While previous research has focused on the timing, strength and frequency content of first-order reflections and ensemble conditions, the influence of canopies on the late reverberant field remains under-explored. This study investigates how large-scale monolithic canopies affect the...
Go to contribution page -
Emanuele Porcinai (Audio Communication Group, Technische Universität Berlin)08/09/2026, 14:40A16 Room Acoustics
A central challenge in the design of music venues concerns the architectural features of the stage. Previous field studies have shown that, provided the overall shape and size of a hall are suitable for symphonic music, appropriately designed stage enclosures can generate beneficial reflection patterns to complement the direct sound distribution within the orchestra. These reflections are...
Go to contribution page -
Anssi Ruusuvuori (Akukon Oy)08/09/2026, 15:20A16 Room Acoustics
The orchestra rehearsal hall of the Finnish National Opera and Ballet is situated below the stalls of the main hall of the Opera. This space was originally intended to be use as a musical library, but it was realized in the late stage of design, that the orchestra also needed a rehearsal room. Because of this, the finished room was oddly shaped and had less than ideal height. This caused...
Go to contribution page -
Jamilla Balint (Rohde Acoustics)08/09/2026, 15:40A16 Room Acoustics
Acoustically adaptable performance spaces offer the possibility to actively shape their sonic response, allowing them to be “tuned” in relation to specific artistic requirements. In this sense, the space itself can be approached as an instrument, whose parameters—such as reverberation, clarity, and spatial distribution—are adjusted to support different ensembles and repertoires. A central...
Go to contribution page -
Andrea Santoni (University of Ferrara)08/09/2026, 16:00A16 Room Acoustics
In the context of a research project conducted at the Teatro Comunale di Ferrara concerning the assessment of vibrations induced by amplified music events, particularly their impact on delicate architectural elements, this study investigates the dynamic response of the hall’s ceiling, assessing its contribution to the hall's overall acoustics. An experimental vibro-acoustic analysis was...
Go to contribution page -
Peter Exton (Creative Acoustics)08/09/2026, 16:20A16 Room Acoustics
Successful rooms for orchestral and chamber music allow the musicians to balance their own playing as part of the full ensemble. Work by Marshall in 1978 inspired Gade to propose measures in 1989 that addressed these two factors. Recent work in this field has verified that both the early and late room response have a significant effect on what musicians hear and can respond to while...
Go to contribution page -
Afonso Pires (Faculty of Enginnering U. of Porto)08/09/2026, 16:40A16 Room Acoustics
This paper provides an acoustic characterization of the Theater Diogo Bernardes (Ponte de Lima, Portugal). The main results of the measured acoustic parameters were: LAeq(HVAC) at 26 dB, Speech Transmission Index ranging from 0.56 to 0.71, Reverberation Time (avg 500-1k Hz) of 0.99 s, C80 (avg 500-1k Hz) of 4.7 dB, D50 avg 500-1k Hz) of 0.59, and Center Time (avg 500-1k Hz) of 63 ms. A...
Go to contribution page