DOCSLIB.ORG

Summer 2007 Source-Filter Interaction in Speaking and Singing Is Nonlinear Ingo R

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Summer 2007 Source-Filter Interaction in Speaking and Singing Is Nonlinear Ingo R The newsletter of The Acoustical Society of America Volume 17, Number 3 Summer 2007 Source-Filter Interaction in Speaking and Singing is Nonlinear Ingo R. Titze Many aspects tal flow) or the of speech produc- intraglottal pressure tion have been suc- (which drives the cessfully described vocal folds). For by a linear source- nonlinear source- filter theory. Linea- filter coupling, the rity implies that the glottal impedance is source-filter combi- adjusted to be com- nation, which pro- parable to the vocal vides the acoustic Fig. 1. Human male vocal tract compared to trumpet tract input imped- output at the mouth, ance, making the can be characterized by mathematical convolution in the time glottal flow highly dependent on acoustic pressures in the domain (or by multiplication in the frequency domain) of two vocal tracts (above and below the glottis). This is accomplished independent functions representing the source and the filter. by setting specific adduction levels of the vocal folds that With this assumption, the filter cannot influence the source to match a narrower epilarynx tube. The epilarynx tube serves the produce new frequencies or change the overall energy level of same function as the mouthpiece of a trumpet to match the the source. It has recently been shown, however, that this impedance of the main tube to the flow impedance of the lips. assumption is generally not valid, and only under certain condi- Singing styles (operatic, musical theatre, belting, yodel- tions is at best an appropriate simplification. The linear theory is ing) are based on the concept that certain vowels and voice applicable to male speech, less to female and child speech, and qualities work best with certain pitches, a concept that would much less to singing. As long as the dominant source frequen- have no explanation if the source-filter system were linear. The cies lie well below the formant (resonance) frequencies of the entire voice register terminology is based on observed phe- vocal tract (which occurs in male speech), glottal airflow is influ- nomena related to interaction within the source-filter building enced only in simple ways by the filter, mainly in terms of flow blocks, which includes the trachea. Vocal pedagogues who pulse skewing and pulse ripple. But when formants and har- invented terms like chest voice and head voice were not so monics cross, bifurcations in the glottal airflow and the dynam- naïve to suggest that the source of sound moves from location ics of vocal fold vibration can occur that may generate second- to location, but rather that interactions with certain parts of the ary frequencies and even change the energy level at the source. airway are stronger with certain source-filter adjustments and It is hypothesized that humans (and perhaps many ani- lead to special sensations along the airway. mals) have the ability to operate their source filter system with Because the vocal tract is relatively short (about 17 cm in either linear or nonlinear coupling. One way to express the comparison to more than 2 m for a stretched-out trumpet horn) degree of coupling is through the relative impedances of the and because a speaker or singer wishes to convey all the pho- source and filter. For linear source-filter coupling, the source netic variations of a spoken language, the length and shape of impedance is kept much higher than the input impedance to the the vocal tract cannot be adjusted to resonate many of the vocal tract. This linear coupling is accomplished by adducting source frequencies simultaneously. Thus, unlike in most musi- the vocal folds firmly and widening the epilarynx tube (a nar- cal instruments, for which the length and shape of the horn or row region of the vocal tract above the vocal folds, also known bore is carefully designed to resonate the dominant source fre- as the laryngeal vestibule; see arrow in Figure 1). The glottal quencies simultaneously, lining up source frequencies with flow is then determined strictly by aerodynamics, while vocal tract filter resonances is rarely effective in human phona- acoustic pressures above and below the glottis have little influ- tion. In fact, singers deliberately avoid the formant regions ence on either the transglottal pressure (which drives the glot- continued on page 2 We hear that . James West received the 2006 National Medal of Technology Source-Filter Interaction in Speaking and at the White House on July 27. Jim, who is a professor at Johns Singing is Nonlinear continued from page 1 Hopkins University and a former president of ASA, was recog- nized “for co-inventing the electret microphone while working with harmonic placement. Apparent “formant-harmonic tun- with Gerhard Sessler at Bell Labs in 1962. Ninety percent of the ing” occurs in high soprano singing (Sundberg, 1977; Joliveau two billion microphones produced annually and used in every- et al., 2004), but close inspection of the data reveals that F0 is day items such as telephones, hearing aids, camcorders, and slightly less than the formant frequency F1. The reason for this multimedia computers employ electret technology.” is that peak vocal tract inertance is sought out, which occurs ț Jan Achenbach received the National Medal of Science at below resonance. Exact formant-harmonic tuning seems to the White House on July 27. Jan, who is a professor at occur only in so-called harmonic singing or overtone singing, Northwestern University and an ASA Fellow, was recognized where a single harmonic is highly reinforced by a formant that for “seminal contributions to engineering research and educa- is tuned precisely to its frequency (Rachele, 1996). In this tion in the area of wave propagation in solids and for pioneer- exceptional case, peak vocal tract resistance seems to be ing the field of quantitative non-destructive evaluation.” sought out, which occurs exactly at the formant frequency. Patricia Kuhl, Professor of Speech and Co-Director of the Linear source-filter coupling is then likely. University of Washington Institute for Learning and Brain Nonlinear source-filter theory predicts a preference in Sciences, received an Outstanding Alumni Achievement award placing harmonics on the left side of a formant (in the inertive from the University of Minnesota. reactive region below the formant frequency) as opposed to the right side (in the compliant reactive region above the formant A letter from the editor: frequency). Fortunately, the vocal tract has more than one for- Once again, we received no Letters to the Editor, so this mant, so vowels can be chosen such that a “leap over a for- space will be filled by a Letter from the Editor, who is still get- mant” can be made by a harmonic to land on the upslope of an ting unpacked after moving to Los Altos Hills (that makes 3 adjacent formant. Thus, choosing favorable vowels on an moves in the past 3 years). But the view of the setting sun in ascending pitch scale, for example, is like walking up a tall the hills as I write this makes it all worthwhile! I invite my mountain that has multiple peaks and valleys along the way. acoustics friends to come by and enjoy this view with me. And You stay on the upslopes and try to leap over the valleys as someday soon I hope to find all those books and papers that quickly and effectively as possible. Figure 2 shows the process. Ten vowels are represented as have been packed away in boxes. nearly horizontal lines, with the peaks and valleys in the curves As you know, we publish an issue of ECHOES a month or representing the changes in vocal tract inertance (inertive reac- two before each ASA meeting, and another issue a month or so tance divided by angular frequency ω). Vocal tract inertance has after each meeting. This issue includes photos from the Salt been shown to enhance vocal fold vibration (Titze, 1988). The Lake City meeting as well as an article based on a paper at that greater the inertance, the more enhancement there will be for a meeting. We invite readers to submit photos and meeting notes harmonic of the source. Inertance changes rapidly only near the within a month after the New Orleans meeting. formants. For the uu = /u/ vowel, for example, the first formant Likewise, we can use photos and notes from the ICA is near C4; for the ih = / I / vowel, the first formant is near C5; (International Congress on Acoustics) and the various satellite for the ae = / æ / vowel, the first formant is between C and C meetings in Europe this September. The deadline for the Fall 5 6 (note the pitch labels C2, C3, C4, C5, and C6 on horizontal axes). issue is September 27, but in case we receive more submis- For any selected pitch, there will be a series of harmonics cre- sions than we have space, it may be “first come first served.” Newsletter of the Acoustical Society of America Provided as a benefit of membership to ASA members The Acoustical Society of America was organized in 1929 to increase and diffuse the knowledge of acoustics and to promote its practical applications. Echoes Editor . .Thomas Rossing ASA Editor-in-Chief . .Allan Pierce Advisors . .Elaine Moran, Charles Schmid Phone inquiries: 516-576-2360. Contributions, including Letters to the Editor, should be sent to Thomas Rossing, Stanford University, CCRMA Department of Music, Stanford, CA 94305 <[email protected]> Fig. 2. Vocal tract inertance for 10 vowels as a function of frequency 2 Source-Filter Interaction (a) (b) compliant region. Some evidence of chaotic vibration was seen around 4.0 s, where the lowest F0 and the highest vibration amplitude occurred.
Load more

Recommended publications
  • Concert Halls by Nagata Acoustics Thirty Years of Acoustical Design for Music Venues and Vineyard-Style Auditoria
    springer.com Physics : Acoustics Toyota, Y., Komoda, M., Beckmann, D., Quiquerez, M., Bergal, E. Concert Halls by Nagata Acoustics Thirty Years of Acoustical Design for Music Venues and Vineyard-Style Auditoria Offers an inside look at the design process and unique considerations behind each of 25-30 internationally recognized vineyard style performance venues, including the Walt Disney Concert Hall and Hamburg's Elbphilharmonie Features acoustical metrics along with a meta-analysis on the usefulness of such metrics in the design process Springer Illustrates how Toyota's particular design philosophy influences the 1st ed. 2020, XVI, 339 p. completed building through photographs and architectural drawings 1st 346 illus., 235 illus. in color. This visually stunning and data rich text catalogs the design of 32 concert halls by world- edition renowned acoustician Yasuhisa Toyota and his team at Nagata Acoustics, the firm behind the celebrated Walt Disney Concert Hall, the Hamburg Elbphilharmonie, and numerous others. Alongside architectural drawings and photographs, commentary on the design process and Printed book challenges of each hall provides insight for the dedicated listener to appreciate a wide range Hardcover of internationally beloved concert venues. Summarized acoustical and architectural data for Printed book each of the halls will provide valuable reference information to architects and acousticians Hardcover alike. Following the project anthology is an overview of the history, development, and acoustical ISBN 978-3-030-42449-7 features of vineyard- and surround-style concert halls. A broader discussion of design philosophy reveals the methods by which Toyota has guided architects to create world $ 149,99 renowned halls. These technical and general discussions give architects the foundation to Available design for the performing arts, and provide audiences a new insight and perspective to Discount group consider the next time they attend a concert.
    [Show full text]
  • Daniel Beckmann
    BECKMANN ACOUSTICS Daniel Beckmann, Principal Daniel Beckmann, an internationally respected acoustical consultant, founded Beckmann Acoustics in 2019, after working more than thirteen years as a consultant at Nagata Acoustics. Mr. Beckmann was educated at the University of Kansas and the University of Stuttgart (Germany), receiving a degree in Architectural Engineering. At the University of Kansas, the curriculum emphasized the various engineering fields involved in buildings, as well as an extensive architectural design component, emphasizing creative thinking and collaboration with architectural designers. Music has always been a focus for him, beginning with violin studies at age five, piano studies at age eight, and with many professional musicians in his family. Together with his colleagues at Nagata Acoustics, he is the author of Concert Halls by Nagata Acoustics, published by Springer Nature in 2021. The book surveys more than thirty performance venues and discusses techniques of acoustical design, with Mr. Beckmann contributing the text for eight venues and collaborating on the editing of all topics. David Staples, writing in Lighting & Sound America (August, 2021) praises it for “present[ing] information on each project in a clear, comprehensible, and usable format. […] A cornucopia of information,” and is called “the most important work on performing arts design since Leo Beranek’s seminal Concert Halls and Opera Houses” in the Journal of the Audio Engineering Society (June, 2021). Mr. Beckmann has extensive experience in the design of spaces for music performance, where excellent natural acoustics are of paramount importance. He is also well-versed in sound isolation and mechanical noise control, in order to ensure that the enjoyment of performances and study are not interrupted by unexpected noise.
    [Show full text]
  • Yasuhisa Toyota, Motoo Komoda, Daniel Beckmann, Marc Quiquerez
    Concert Halls by Nagata Acoustics Thirty Years of Acoustical Design for Music Venues and Vineyard-Style Auditoria Yasuhisa Toyota, PRESS Motoo Komoda, Daniel Beckmann, Marc Quiquerez, Erik Bergal Concert Halls by Nagata Acoustics Yasuhisa Toyota • Motoo Komoda • Daniel Beckmann Marc Quiquerez • Erik Bergal Concert Halls by Nagata Acoustics Thirty Years of Acoustical Design for Music Venues and Vineyard-Style Auditoria Yasuhisa Toyota Motoo Komoda Nagata Acoustics Nagata Acoustics Los Angeles, CA, USA Los Angeles, CA, USA Daniel Beckmann Marc Quiquerez Nagata Acoustics Nagata Acoustics Los Angeles, CA, USA Paris, France Erik Bergal Nagata Acoustics Los Angeles, CA, USA ISBN 978-3-030-42449-7 ISBN 978-3-030-42450-3 (eBook) https://doi.org/10.1007/978-3-030-42450-3 © Springer Nature Switzerland AG 2020 This work is subject to copyright. All rights are reserved by the Publishers, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publishers, the authors, and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication.
    [Show full text]
  • Concert Halls by Nagata Acoustics Thirty Years of Acoustical Design for Music Venues and Vineyard-Style Auditoria
    springer.com Y. Toyota, M. Komoda, D. Beckmann, M. Quiquerez, E. Bergal Concert Halls by Nagata Acoustics Thirty Years of Acoustical Design for Music Venues and Vineyard-Style Auditoria Offers an inside look at the design process and unique considerations behind each of 25-30 internationally recognized vineyard style performance venues, including the Walt Disney Concert Hall and Hamburg's Elbphilharmonie Features acoustical metrics along with a meta-analysis on the usefulness of such metrics in the design process Illustrates how Toyota's particular design philosophy influences the completed building through photographs and architectural drawings 1st ed. 2020, XVI, 339 p. 346 illus., 235 This visually stunning and data rich text catalogs the design of 32 concert halls by world- illus. in color. renowned acoustician Yasuhisa Toyota and his team at Nagata Acoustics, the firm behind the celebrated Walt Disney Concert Hall, the Hamburg Elbphilharmonie, and numerous others. Printed book Alongside architectural drawings and photographs, commentary on the design process and Hardcover challenges of each hall provides insight for the dedicated listener to appreciate a wide range 119,99 € | £109.99 | $149.99 of internationally beloved concert venues. Summarized acoustical and architectural data for [1] 128,39 € (D) | 131,99 € (A) | CHF each of the halls will provide valuable reference information to architects and acousticians 141,50 alike. Following the project anthology is an overview of the history, development, and acoustical eBook features of vineyard- and surround-style concert halls. A broader discussion of design 96,29 € | £87.50 | $109.00 philosophy reveals the methods by which Toyota has guided architects to create world [2]96,29 € (D) | 96,29 € (A) | CHF renowned halls.
    [Show full text]
  • Signature Redacted Signature of Author Center for Kal Rstate July 27
    Mixed-Use Concert Hall - Insights from the Elbphilharmonie by Zhiyao Feng Master of Economics, 2011 Nanjing University Submitted to the Program in Real Estate Development in Conjunction with the Center for Real Estate in Partial Fulfillment of the Requirements for the Degree of Master of Science in Real Estate Development at the Massachusetts Institute of Technology September, 2018 @2018 Zhiyao Feng All rights reserved The author hereby grants to MIT permission to reproduce and to distribute publicly paper and electronic copies of this thesis document in whole or in part in any medium now known or hereafter created. Signature redacted Signature of Author Center for Kal rstate July 27, Certified by Signature redacted_ Kairos Shen Lecturer, Center for Real Estate , he# Supervisor Accepted by_ Signature redacted "Professor Dennis Frenchman Class of 1922 Professor of Urban Design and Planning, Director, Center for Real Estate MASSACHUSETS INSTITUTE School of Architecture and Planning OF TECHNOWGY- NOV 13 2018 LIBRARIES ARCHIVES Mixed-Use Concert Hall - Insights from the Elbphilharmonie by Zhiyao Feng Submitted to the Program in Real Estate Development in Conjunction with the Center for Real Estate on July 27, 2018 in Partial Fulfillment of the Requirements for the Degree of Master of Science in Real Estate Development ABSTRACT Taking a qualitative case study approach, this thesis examines the approach in combining a concert hall with other real estate product types in the urban redevelopment context, and demonstrates that successful mixed-use development with concert hall or other cultural facilities could be a viable strategy to add both civic and commercial value for new town development.
    [Show full text]
  • Biography: Tim Smela Is a Fifth-Year Dual Degree Architecture/Interior
    Biography: Tim Smela is a fifth-year dual degree Architecture/Interior Architecture candidate at Auburn University’s School of Architecture, Planning, and Landscape Architecture. He also holds a Bachelor of Arts Degree in Interdisciplinary Humanities with a focus in Theatrical Arts from Michigan State University. Born in California and raised in suburban Detroit, Tim is looking to forge a new path for himself as a student of the world. Past architecture honors include first prize in the 49th annual Alabama Forestry Association (AFA) Wood Competition, third prize in the 2016 Veterinary Hospital/Clinic and Rehabilitation Center Competition, and as a member of the team honored with the inaugural Alabama AIA Student Design Honor Award in 2017. With his background in the humanities and performing arts, Tim is drawn towards the design of large scale cultural institutions and is fascinated in their ability to bring diverse groups of people together to celebrate humanity. Tim would like to thank all those responsible for the establishment of the Alfred Lewis Aydelott, FAIA and Hope Galloway Aydelott Award Support Fund for the opportunity to pursue his passion in architecture while traveling the globe. He would also like to extend his personal thanks to those at Auburn University who helped him with his research and preparation, specifically Kevin Moore, Matt Hall, Mary English, Carla Keyvanian, Danielle Willkens, and Margaret Fletcher. Tim would also like to thank his partner and their dog for their infinite patience and support. Tim is currently completing his dual degree program at Auburn University’s Urban Studio in Birmingham, Alabama. Student: Tim Smela Mentors: Kevin Moore, Carla Keyvanian, Margaret Fletcher Buildings: 1.
    [Show full text]
  • Concert Halls by Nagata Acoustics Thirty Years of Acoustical Design for Music Venues and Vineyard-Style Auditoria
    springer.com Physik : Akustik Toyota, Y., Komoda, M., Beckmann, D., Quiquerez, M., Bergal, E. Concert Halls by Nagata Acoustics Thirty Years of Acoustical Design for Music Venues and Vineyard-Style Auditoria Offers an inside look at the design process and unique considerations behind each of 25-30 internationally recognized vineyard style performance venues, including the Walt Disney Concert Hall and Hamburg's Elbphilharmonie Features acoustical metrics along with a meta-analysis on the usefulness of such metrics in the design process Springer Illustrates how Toyota's particular design philosophy influences the 1st ed. 2020, XVI, 339 p. completed building through photographs and architectural drawings 1. 346 illus., 235 illus. in color. This visually stunning and data rich text catalogs the design of 32 concert halls by world- Auflage renowned acoustician Yasuhisa Toyota and his team at Nagata Acoustics, the firm behind the celebrated Walt Disney Concert Hall, the Hamburg Elbphilharmonie, and numerous others. Alongside architectural drawings and photographs, commentary on the design process and Gedrucktes Buch challenges of each hall provides insight for the dedicated listener to appreciate a wide range Hardcover of internationally beloved concert venues. Summarized acoustical and architectural data for Gedrucktes Buch each of the halls will provide valuable reference information to architects and acousticians Hardcover alike. Following the project anthology is an overview of the history, development, and acoustical ISBN 978-3-030-42449-7 features of vineyard- and surround-style concert halls. A broader discussion of design philosophy reveals the methods by which Toyota has guided architects to create world £ 109,99 | CHF 141,50 | 119,99 € | 131,99 € (A) | 128,39 € (D) renowned halls.
    [Show full text]
  • Finally, a Concert Hall Worthy of Finnish Music
    This 43-foot-high sculpture entitled “Hauenlaulu” Finally, (“The Pike’s Song”) was designed by Reijo Hukkanen. The inspiration was a rather surreal verse written in a Concert Hall 1928 by Aaro Hellaakoski describing a singing pike that leaps up to bite a cone at the top of a spruce. The Worthy of fish is made of aluminum and steel and surrounded by simulated log piles, branches Finnish Music and grand pianos. A year after its opening, the acoustically pristine Helsinki Music Center has become the heart of Finland’s vibrant music scene. By Wif Stenger ALL PHOTOS EXCEPT THOSE OTHERWISE INDICATED ARE BY SINIMARIA KANGAS. 68 SCANDINAVIAN REVIEW AUTUMN 2012 AUTUMN 2012 SCANDINAVIAN REVIEW 69 SO FAR, THERE HAVE BEEN FEW QUIBBLES ABOUT THE long-awaited Helsinki Music Center and those that have come up have primarily concerned its humdrum looks. Those who grumble about the complex’s appearance are missing the point. Everything in this building has been designed––in obsessive detail––to serve sound. All else is secondary. “Couldn’t they have made a compromise,” the skeptics ask, “something that both looked good and sounded good?” The answer to that question stands just a few hundred yards away: Finlandia Hall. Architect Alvar Aalto’s last major work, Finlandia Hall was completed in 1971, a few years before his death. Though graceful, it soon proved to have many problems, including expensive marble slabs that could not withstand the Helsinki winters and acoustics that horrified performers and audiences alike. Despite repeated efforts to fix both problems over the years, the venue has remained something of a white elephant.
    [Show full text]
  • China Philharmonic Orchestra Reveals Beijing's New Concert Hall Designed by MAD Architects
    China Philharmonic Orchestra reveals Beijing’s new concert hall designed by MAD Architects (Beijing, Oct. 18) The China Philharmonic Orchestra revealed MAD Architects’ design of the new China Philharmonic Hall. The concert hall was designed in collaboration with renowned acoustic expert Yasuhisa Toyota, and will be the orchestra’s first permanent residency. The philharmonic orchestra’s goal is to create a state-of-the-art concert hall that will serve as a cultural exchange and China’s new locus for classical music. British magazine GRAMOPHONE recognized the China Philharmonic Orchestra as one of world’s best symphony orchestras. The orchestra’s current president is Li Nan, and its artistic director/chief conductor is Yu Long. The project was approved by the National Development and Reform Commission, and the State Administration of Press, Publication, Radio, Film, and Television of the People’s Republic of China considers it a high-priority national project. Located at the south side of the Workers Stadium East Gate in Beijing’s Central Business District, the concert hall covers a site of 11,600 sqm, and has a total floor area of 26,587 sqm. Ma Yansong envisions the concert hall as a hidden gem and a peaceful cultural escape from the city. “We wanted to create a pure and sacred oasis in the midst of the bustling city,” says Ma Yansong, founder & principal partner of MAD Architects. “From the moment you enter the building, you will be taken to another time and space.” To ensure the design also meets the highest standards for classical music performances, the acoustic design was developed by Yasuhisa Toyota, whom has designed world-class concert venues such as the Walt Disney Concert Hall in Los Angeles, the Philharmonie de Paris, and the Suntory Hall in Japan.
    [Show full text]
  • Acoustical Design of New Danish Radio Concert Hall
    Proceedings of the International Symposium on Room Acoustics, ISRA 2010 29-31 August 2010, Melbourne, Australia Acoustical Design of New Danish Radio Concert Hall Motoo Komoda (1), Ayako Hakozaki (2) and Yasuhisa Toyota (1) (1) Nagata Acoustics America, Inc, 2130 Sawtelle Blvd Suite 308 Los Angeles CA 90025, U.S.A. (2) Nagata Acoustics, Inc, 2-35-10-3F Hongo Bunkyo-ku Tokyo 113-0033, Japan PACS: 43.55 Fw Auditorium and enclosure design ABSTRACT A new 1800-seat concert hall at the Danish Radio complex in Copenhagen opened in January 2009. The new hall primarily serves classical music forms such as orchestra, chamber ensemble, solo recital, etc. The seating layout of the hall is based upon the vineyard style. During all design phases, the room shape was studied with computer simula- tions and near the completion of design a detrimental echo check was performed using a 1:10 scale model. Presented here is the acoustical design of the new hall, as well as acoustical data measured after completion. 1. INTRODUCTION Danish Radio (Danish Broadcasting Corporation) decided to build a new concert hall when the Danish Radio’s headquar- ters and all other facilities moved to a new campus. The con- cert hall was built as a part of their new home. The new hall has audience seating for approximately 1,800 persons and has been designed as a concert hall for classical music. The Dan- ish National Radio Symphony Orchestra sits on the stage of the new hall as the resident orchestra. The competition for the design team (architect-acoustician) for the new concert hall was conducted by the client, Danish Radio, from the end of 2001 to the beginning of 2002.
    [Show full text]
  • Historic Organs of BELGIUM May 15-26, 2018 12 Days with J
    historic organs of BELGIUM May 15-26, 2018 12 Days with J. Michael Barone historic organs of GERMANY October 1-14, 2019 14 Days with J. Michael Barone www.americanpublicmedia.org www.pipedreams.org National broadcasts of Pipedreams are made possible with funding in loving memory of Mr. & Mrs. Wesley C. Dudley by their family, grants from Walter McCarthy, Clara Ueland, and the Greystone Foundation, the Art and Martha Kaemmer Fund of the HRK Foundation, and Jan Kirchner on behalf of her family foundation, by the contributions of listeners to American Public Media sta- tions nationwide, and by the thirty member organizations of the Associated Pipe Organ Builders of America, APOBA, representing the designers and creators of pipe organs heard throughout the country and around the world, with information at www.apoba.com. See and hear Pipedreams on the Internet 24-7 at www.pipedreams.org. A complete booklet pdf with the tour itinerary can be accessed online at www.pipedreams.org/tour Table of Contents Welcome Letter Page 2 Bios of Hosts and Organists Page 3-7 Te Turingian Organ Scene Page 8-9 Alphabetical List of Organ Builders Page 10-16 Organ Observations Page 17-19 Tour Itinerary Page 20-23 Tour Members Playing the Organs Page 24 Organ Sites Page 25-122 Rooming List Page 123 Traveler Profles Page 124-127 Hotel List Page 128-129 Map Inside Back Cover Tanks to the following people for their valuable assistance in creating this tour: Tim Schmutzler Valerie Bartl, Cynthia Jorgenson, Kristin Sullivan, Janet Tollund, and Tom Witt of Accolades International Tours for the Arts in Minneapolis.
    [Show full text]
  • Architectural Acoustics: Investigating the Effects of Building Forms on Acoustics
    GSJ: Volume 9, Issue 2, February 2021 ISSN 2320-9186 496 GSJ: Volume 9, Issue 2, February 2021, Online: ISSN 2320-9186 www.globalscientificjournal.com ARCHITECTURAL ACOUSTICS: INVESTIGATING THE EFFECTS OF BUILDING FORMS ON ACOUSTICS. 1Bright Izuu Joseph; 2Mrs. Daibi-Oruene Waaka Divine; 3Prof. Imaah Ono. Napoleon; 4Moses Agbete A. Author Details Author: Bright Izuu Joseph is currently pursuing a master’s degree program in Architecture in Rivers state University, Port-Harcourt, Nigeria. PH+2348079500515. E-mail: [email protected] Co-Authors: 2Mrs. Daibi-Oruene Waaka Divine is currently a Lecturer in Department of Architecture, Kenule Beeson Saro-Wiwa Polytechnic, Bori. Nigeria. PH+234708680060. E-mail: [email protected] 3Prof. Imaah Ono Napoleon is a professor of Architecture at Rivers State University. He is currently serving as the Dean of the Faculty of Environmental Sciences, Rivers State University, Port-Harcourt, Nigeria. 4Moses Agbete A. is currently pursuing a master’s degree program in Architecture in Rivers state University, Port-Harcourt, Nigeria, PH+234801040798525. E-mail: [email protected] KeyWords Architectural acoustics, Building Acoustics, Building forms, Soundwaves, Shoebox shape, Auditorium, Whispering Gallery. ABSTRACT Most large spaces share a common challenge, which is poor sound management and control. Large spaces by necessity are conditioned by the need of all within it, to have a clear view of the stage and to hear the facilitator or actors on stage audibly. In life, the sound is as important as light. Light gives humans the visual connection to reality, while sound gives meaning to existence and differentiation. Architects and designers are constantly coming up with design suggestions to solve the challenge of acoustics in large spaces and this is one of the key reasons we now have auditoriums shaped in such a way that the audience will be close to the sound source and free from noise as much as possible.
    [Show full text]