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Since he has been a professor of physics at Northern Illinois University. He was named distinguished Research Professor in and Professor Emeritus in He is the author of more than publications including 17 books, 9 U. His areas of research have included musical acoustics, psychoacoustics, speech and singing, vibration analysis, magnetic levitation, surface effects in fusion reactors, spin waves in metals and physics education.
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Bitte geben Sie Ihre Bewertung ein: Bitte geben Sie Daten ein: Since , Marshall Long has been engaged in acoustical engineering consulting as principal of the firm he founded.
Based in California, USA, Marshall Long Acoustics, has established a national and international reputation, completing over 3, projects in architectural acoustics, noise and vibration control, environmental impact assessment, and audio visual design. He has published numerous papers and articles in the field of acoustics. The author has recently been awarded a US patent on the recording and reproduction of three-dimensional sound.
For further information visit the firm's website at mlacoustics. It includes a discussion of the progress of building construction along with its influence on music and discourse. The chapter begins with the early cultures including the Greek and Roman theaters and continues into the twentieth century with the development of the science of acoustics and the mathematical modeling of sound in rooms.
The chapter discusses important cultures throughout the intervening ages, including the Renaissance and Baroque periods, and highlights influencial figures such as Wallace Clement Sabine. Keywords historyacousticstheaterchurchcathedralopera houseshoebox hallconcert hallSabinesound theory The arts of music, drama, and public discourse have both influenced and been influenced by the acoustics and architecture of their presentation environments.
It is theorized that African music and dance evolved a highly complex rhythmic character, rather than the melodic line of early European music due, in part, to its being performed outdoors. Wallace Clement Sabine — , an early pioneer in architectural acoustics, felt that the development of a tonal scale in Europe rather than in Africa could be ascribed to the differences in living environment.
In Europe, prehistoric tribes sought shelter in caves and later constructed increasingly large and reverberant temples and churches.
Gregorian chant grew out of the acoustical characteristics of the Gothic cathedrals, and subsequently baroque music was written to accommodate the churches of the time. In the latter half of the twentieth century both theater design and performing arts became technology-driven, particularly with the invention of the electronic systems that made the recording, film, and television industries possible.
With the development of computer programs capable of creating the look and sound of any environment, a work of art can now not only influence, but also define the space it occupies. There is evidence Sandars, to suggest that instruments existed as early as 13, BC. The understanding of music and consonance dates back at least to BC, when the Chinese philosopher Fohi wrote two monographs on the subject Skudrzyk, The earliest meeting places were probably no more than conveniently situated open areas.
Their form was whatever existed in nature and their suitability to purpose was haphazard. As the need arose to address large groups for entertainment, military, or political purposes, it became apparent that concentric circles brought the greatest number of people close to the central area. Since the human voice is directional and intelligibility decreases as the listener moves off axis, seating arrangements were defined by the vocal polar pattern and developed naturally, as people sought locations yielding the best audibility.
This led to the construction of earthen or stone steps, arranging the audience into a semicircle in front of the speaker. The need to improve circulation and permanence evolved in time to the construction of dedicated amphitheaters on hillsides based on the same vocal patterns. Greeks The Greeks, perhaps due to their democratic form of government, built some of the earliest outdoor amphitheaters.
One of the best-preserved examples of Greco-Hellenistic theaters is that built at Epidaurus in the northeastern Peloponnese in BC, about the time of Aristotle. A sketch of the plan is shown in Fig. The seating was steeply sloped in these structures, typically , which afforded good sight lines and reduced grazing attenuation. Even with these techniques, it is remarkable that this theater, which seated as many as 17, people, actually functioned.
Figure 1. Chariot wheels in Asia Minor were heavy, whereas those of the Greeks were light since they had to operate on rocky ground.
To achieve high speed, the older Asian design was modified, so that the four-spoke wheels were smaller and the wooden rims were highly stressed and made to be very flexible.
They were so light that if left overnight under the weight of the chariot they would undergo deformation due to creep. The wheels were mounted on light cantilevered shafts and the vehicle itself was very flexible, to help isolate the rider from ground-induced vibrations.