CONCERT HALLS AND OPERA HOUSES BERANEK PDF

Here, the mysteries of acoustics seem less intimidating: we come to understand why music sounds the way it does in various performance spaces, and what we can do about it. Visiting each of these venues would be a great delight and a marvelous adventure, but such being impractical, this great book is the next best thing. All lovers of music, acoustics, architecture, and travel will enjoy this unique work. Presented are carefully collected plans, data and pictures of halls for music, and assessments of their acoustical quality by artists, critics and audiences, as well as measured scientific criteria. It is an easily readable, "must" handbook for anyone traveling to perform or attend concert or opera music. The book explains the intricacies of modern auditorium acoustics, a much more complex science than it had been in the immediate post-WWII era

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Here, the mysteries of acoustics seem less intimidating: we come to understand why music sounds the way it does in various performance spaces, and what we can do about it.

Visiting each of these venues would be a great delight and a marvelous adventure, but such being impractical, this great book is the next best thing. All lovers of music, acoustics, architecture, and travel will enjoy this unique work.

Presented are carefully collected plans, data and pictures of halls for music, and assessments of their acoustical quality by artists, critics and audiences, as well as measured scientific criteria. It is an easily readable, "must" handbook for anyone traveling to perform or attend concert or opera music. The book explains the intricacies of modern auditorium acoustics, a much more complex science than it had been in the immediate post-WWII era There is a detailed bibliography and an excellent index.

This is an easily readable book. Beranek explains the complexities of the acoustical criteria lucidly, and describes the halls concisely, but clearly with the aid of illustrations and data. It is a comprehensive and indispensable aid to architects, musicians and design teams who tackle the incredibly daunting task of creating new performance spaces. It gives comprehensive knowledge of room acoustics and offers a basic foundation for acoustical research long into the future.

Lovers of music everywhere will welcome this extraordinary work for its scope, depth, and ease of reading, and for heightening our understanding and enjoyment of the musical experiences that so enrich our lives. It will also bring information and pleasure to all with an interest in music, acoustics and architecture. With presentation of halls, it illustrates various levels of acoustical quality. Written for the lay reader it deserves to be in every school of music, architecture and science and with every musician and music lover.

From the reviews: "For anyone interested in musical performance or in architecture, this book is a real treasure. After a short introduction to outline the approach and define the acoustical terms involved, the book plunges into a wonderful survey of concert halls in 31 different countries The book is elegantly typeset and produced, and will be both interesting reading and a wonderful resource for architects, musicians, and concert goers.

It again has an outstanding quality in layout and printing. The book is an illustrated guide to performance spaces. It provides a rich source of information on music and its relation to room acoustics. It is also a document of cultural heritage and a help for musicians It is an invaluable resource for those involved in the design of spaces for the performance of music Summing Up: Highly recommended. Beranek LEO L.

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Concert Halls and Opera Houses : Music, Acoustics, and Architecture

Visiting each of these venues would be a great delight and a berwnek adventure, cocert such being impractical, this great book is the next best thing. SearchWorks Catalog Stanford Andd. He also proposes a common language for musicians and acousticians. Australian Institute of Music. Publication date Note Rev. Here, the mysteries of acoustics seem less intimidating: Concert and opera halls.

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Leo Beranek

His father Edward Fred Beranek was a farmer whose ancestors came from Bohemia in what is now the Czech Republic and his mother Beatrice Stahle, previously a schoolteacher, had become a farmwife. After his first year, he rode in a horse-drawn school bus on a two-hour trip to a somewhat larger school. In his family moved back to Solon, where he was soon skipped over third grade and moved directly into fourth grade classes. His eldest son became fascinated with both the technology and the musical aspects of radio. In junior high school Beranek earned his first independent money by selling silk stockings and fabric.

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CONCERT HALLS AND OPERA HOUSES BERANEK PDF

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