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Archeological Acoustics I THURSDAY AFTERNOON, 3 JULY 2008 ROOM 242B, 1:20 TO 7:00 P.M. Session 4pAAa Architectural Acoustics: Archeological Acoustics I David Lubman, Cochair DL Acoustics, 14301 Middletown Lane, Westminster, CA 92683, USA Jens Holger Rindel, Cochair Odeon A”S, Scion DTU, Diplomvej Buildling 381, Lyngby, DK-2800, Denmark Invited Papers 1:20 4pAAa1. Sound resonance in prehistoric times: A study of Paleolithic painted caves and rocks. Iegor Reznikoff ͑Université de Paris X, Département de Philosophie, 92001 Nanterre, France, [email protected]͒ Caves have natural properties of resonance: some parts sound very well, the sound lasts for some seconds or gives several echoes, some other parts have a dull resonance or no resonance at all. It is extremely interesting to compare in a given cave the map of the most resonant locations with the map of the locations of the paintings: are there correlations between resonance and paintings? We have studied many Paleolithic caves in France in which the answer was remarkably positive; stated shortly: the more resonant the location, the more paintings or signs are situated in this location. Here are presented some studies and results in the caves of Isturitz and Oxo- celhaya in Pays Basque and in some other caves. Some considerations are given about the resonance - pictures relationship in open spaces with prehistoric painted rocks. Bibliography I. Reznikoff: Prehistoric Paintings, Sound and Rocks in Studien zur Musikarchäolo- gie III: 2nd International Symposium on Music Archaeology, Sept. 2000, ed. E. Hickmann, Berlin, Rahden, 2002, 39-56. The Evidence of the Use of Sound Resonance from Palaeolithic to Medieval Times, Archaeoacoustics, C. Scarre & G. Lawson ed., University of Cambridge, Cambridge, 2006, 77-84. On Primitive Elements of Musical Meaning, www.musicandmeaning.net, JMM 3 ͑Invited papers͒, 2005. 1:40 4pAAa2. Architectural and acoustic restoration of the ’Benevento’ Roman Theatre. Luigi Maffei ͑Built Environment Control Laboratory Ri.A.S., Second University of Naples, Abazia di S. Lorenzo, 81031 Aversa, Italy, [email protected]͒, Gino Iannace ͑Built Environment Control Laboratory Ri.A.S., Second University of Naples, Abazia di S. Lorenzo, 81031 Aversa, Italy, [email protected]͒, Leda De Gregorio ͑Built Environment Control Laboratory Ri.A.S., Second University of Naples, Abazia di S. Lorenzo, 81031 Aversa, Italy, [email protected]͒, Umberto Palmieri ͑Built Environment Control Laboratory Ri.A.S., Second University of Naples, Abazia di S. Lorenzo, 81031 Aversa, Italy, [email protected]͒ Acoustics as well as the extraordinary architecture are substantial part of the heritage of ancient Greek and Roman theatres. These archaeological areas are more often used for classical and modern performing activities but to emphasise the original acoustics, resto- ration of the original shape, reconfiguration of the space and introduction of new technologies and materials may be needed. These activities must happen taking into account the ЉInternational Charter for The Conservation and Restoration of Monuments and SitesЉ as main tools defining conservation, use and maintenance guidelines in matter of discipline for ancient performing places. This paper presents some proposals for the stage reconstruction of the Benevento Roman Theatre and examine the associated effects on the theatre acoustics. Design proposals, minded to preserve the place authenticity, improving the acoustics and keeping intact the surrounding atmosphere for spectators, are the result of archaeological data, contemporary performances requirements, state of the art in matter of stage setting design. Acoustic field prediction is based on numerical models and auralization aiming to reproduce the real listening conditions. Contributed Paper 4p THU. PM 2:00 renowned drama festival attracts visitors from all the world that fill the en- 4pAAa3. Acoustic characterization of the ancient theatre at Syracuse. tire cavea: customized seats accomodation and a prominent stage play an ͑ Marco Gullo DREAM, Univ. of Palermo, Viale delle Scienze, Edificio 9, important role in the theatre acoustics. Because no data were available in 90128 Palermo, Italy, [email protected]͒, Armando La Pica literature on its acoustical perfomance a measurement session was carried ͑DREAM, Univ. of Palermo, Viale delle Scienze, Edificio 9, 90128 Pal- out by our team in the framework of a wide research project on ancient the- ermo, Italy, [email protected]͒, Giuseppe Rodono’ ͑DREAM, Univ. of Pal- Љ Љ ermo, Viale delle Scienze, Edificio 9, 90128 Palermo, Italy, atres acoustics in the modern use. From data recorded room criteria pa- [email protected]͒, Vincenzo Vinci ͑DREAM, Univ. of Palermo, Viale delle rameters have been evaluated together with spectral analysis in order to gain Scienze, Edificio 9, 90128 Palermo, Italy, [email protected]͒ a deeper information on the acoustic field. Main results are listed and com- The ancient theatre at Syracuse, the largest open air theatre in Sicily, ex- mented and a comparison among data collected on field during the team ex- perienced many structural changes along its history. Today its very perience in the past years is reported. S635 ACTA ACUSTICA UNITED WITH ACUSTICA Vol. 94 ͑2008͒ Suppl. 1 Acoustics’08 Paris S635 Invited Paper 2:20 4pAAa4. On the use of ancient theatres for modern performances: a scale model approach. Andrea Farnetani ͑Engineering Dept. - Univ. of Ferrara, Via Saragat, 1, 44100 Ferrara, Italy, [email protected]͒, Nicola Prodi ͑Engineering Dept. - Univ. of Ferrara, Via Saragat, 1, 44100 Ferrara, Italy, [email protected]͒, Roberto Pompoli ͑Engineering Dept. - Univ. of Ferrara, Via Sa- ragat, 1, 44100 Ferrara, Italy, [email protected]͒ Ancient theatres are widely used today for modern performances including drama, music and ballets. Despite the state of conser- vation of the stage, the scenery is seldom designed with little care about its acoustical efficiency. Moreover, depending on the specific venue, a sound system can be employed in the performance. To clarify the acoustical impact of all these elements in ancient theatres, different stage settings and a sound sytem were investigated by means of scale model measurements. The scale model is a 1:20 scale reproduction of the ancient theatre of Siracusa ͑Italy͒. It is conceived as modular structure so that different configurations of the cavea and of the stage can be reproduced. To investigate the stage-set effects different groups of reflecting panels were arranged on the plat- form and an orchestra shell was tested too. Then, to simulate the sound system, two directional high frequency sources were assembled and optimized. The interplay of stage, sound system and theatre architecture was outlined by a comprehensive set of acoustical measurements. Contributed Paper 2:40 The acoustics of the ancient Greek and Roman theatres has always been -4pAAa5. ؆Acoustics vases in ancient theatres: disposition, analysis rated as excellent by experts, without discussion. Beyond the purely archi from the ancient tetracordal musical system؆. Arturo Barba Sevillano tectural aspects, in this kind of outdoor theatres some mechanisms were ͑Grup d’Acustica Arquitectònica, Ambiental i Industrial, E.T.S.I.I, Univ. used in order to improve the acoustics. In this paper we have studied the texts about Љtheatre’s vasesЉ of the famous book ЉOn ArchitectureЉ by Politécnica de Valencia, Camino de Vera, s”n, 46022 Valencia, Spain, [email protected]͒, Radu Lacatis ͑Grup d’Acustica Arquitectònica, Vitruvius. Different interpretations and illustrations of these vases, that sev- eral translators carried out in the sixteenth to the eighteenth centuries, have Ambiental i Industrial, E.T.S.I.I, Univ. Politécnica de Valencia, Camino de been researched. From the wide bibliography consulted in this regard we Vera, s n, 46022 Valencia, Spain, [email protected]͒, Alicia ” have developed a plane with the disposition of the bronze vases in the ͑ Giménez Grup d’Acustica Arquitectònica, Ambiental i Industrial, E.T.S.I.I, theatres. In this plane we have specified the frequency of each one of them, Univ. Politécnica de Valencia, Camino de Vera, s”n, 46022 Valencia, Spain, and explained their disposition from the tetracordal musical system acquired agimenez@fis.upv.es͒, José Romero ͑Grup d’Acustica Arquitectònica, Am- from the Greek culture. Finally, an analysis of the disposition of the vases biental i Industrial, E.T.S.I.I, Univ. Politécnica de Valencia, Camino de Vera, has been made. We have studied and looked for the musical intervals and ͒ s”n, 46022 Valencia, Spain, romerof@fis.upv.es harmonic relations among adjacent vases. Invited Papers 3:00 4pAAa6. Musical granite pillars in ancient Hindu temples. Paul Calamia ͑Rensselaer Polytechnic Institute, Greene Bldg., 110 8th St., Troy, NY 12180, USA, [email protected]͒, Jonas Braasch ͑Rensselaer Polytechnic Institute, Greene Bldg., 110 8th St., Troy, NY 12180, USA, [email protected]͒ In some ancient Hindu temples built in India between the 7th century and the 16th century can be found a fascinating architectural element: intricately designed musical pillars of solid granite. These pillars, clusters of which were often carved from a single piece of stone, were tuned by means of their length, width, and tension ͑induced by a load from above͒ and were played to accompany devo- tional readings and dance performances. Various tunings and sound characteristics were employed based on the intended purpose. In this paper, examples of extant pillars will
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