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It presents the fundamentals of sound waves, music and speech sounds, propagation in rooms, reflections, acoustic defects, reverberation-time design, and sound-level distribution. Subsequent chapters address concert hall acoustics, development of hall types, and case-based studies of major British venues, followed by chamber music, recital halls, speech, theatres, opera, and multi-purpose auditoria with variable acoustic solutions.",{"@graph":63,"@context":118},[64,80,101],{"@type":65,"itemListElement":66},"BreadcrumbList",[67,71,74,77],{"item":68,"name":69,"@type":70,"position":9},"https://docshare.wps.com","Home","ListItem",{"item":72,"name":10,"@type":70,"position":73},"https://docshare.wps.com/template/",2,{"item":75,"name":11,"@type":70,"position":76},"https://docshare.wps.com/template/presentations/",3,{"item":78,"name":59,"@type":70,"position":79},"https://docshare.wps.com/template/auditorium-acoustics-and-architectural-design-second-edition/564997/",4,{"url":78,"name":59,"@type":81,"image":82,"author":87,"headline":59,"publisher":90,"fileFormat":93,"inLanguage":57,"description":61,"dateModified":94,"datePublished":95,"encodingFormat":93,"isAccessibleForFree":96,"interactionStatistic":97},"DigitalDocument",{"url":83,"@type":84,"width":85,"height":86},"https://docshare.wps.com/thumbnails/auditorium-acoustics-and-architectural-design-second-edition/564997.png","ImageObject",442,249,{"name":88,"@type":89},"mieayamfan","Person",{"url":68,"name":91,"@type":92},"DocShare","Organization","application/pdf","2026-10-19","2026-10-12",true,{"@type":98,"interactionType":99,"userInteractionCount":47},"InteractionCounter",{"@type":100},"ViewAction",{"@type":102,"mainEntity":103},"FAQPage",[104,110,114],{"name":105,"@type":106,"acceptedAnswer":107},"What topics does the book cover about sound and rooms?","Question",{"text":108,"@type":109},"It covers sound waves, the nature of music and speech sounds, sound propagation, sound in rooms, reflections and the ear, acoustic defects, reverberation-time design, and sound-level distribution.","Answer",{"name":111,"@type":106,"acceptedAnswer":112},"How does the book approach acoustics for concert halls?",{"text":113,"@type":109},"It analyzes subjective and objective descriptions, room size and form, early reflections and diffusion, balcony and performer design, and acoustic modelling, with later chapters discussing developments of concert hall types and conclusions.",{"name":115,"@type":106,"acceptedAnswer":116},"Does the book discuss acoustics beyond music halls?",{"text":117,"@type":109},"Yes. 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No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers.  \nThe publisher makes no representation, express or implied, with regard to the accuracy of the information contained in this book and cannot accept any legal responsibility or liability for any errors or omissions that may be made.  \nEvery effort has been made to contact copyright-holders. Please advise the publisher of any errors or omissions, and these will be corrected in subsequent editions.  \nBritish Library Cataloguing in Publication Data  \nA catalogue record for this book is available from the British Library  \nLibrary of Congress Cataloging in Publication Data Barron, Michael.  \nAuditorium acoustics and architectural design / Michael Barron.– 2nd ed.  \n[p. cm](p. cm).  \nIncludes bibliographical references and index.  \n1. Architectural acoustics. 2. Music-halls – Great Britain. 3. Music-halls. I. Title. NA2800 . B36 2010  \n725’81-dc22 2009002327  \nISBN 0-203-87422-6 Master e-book ISBN  \nISBN10: 0-419-24510-3 (hbk)  \nISBN10: 0-203-87422-6 (ebk)  \nISBN13: 978-0-415-24510-0 (hbk)  \nISBN13: 978-0-203-87422-6 (ebk)  \nContents  \nPreface ix  \nPreface to the first edition xi  \nForeword xiii  \n1 Introduction 1  \n2 Sound and rooms 10  \n2.1 The essence of sound waves 10  \n2.2 The nature of music and speech sounds 12  \n2.3 Sound propagation 15  \n2.4 Sound in rooms 17  \n2.5 Reflections and the ear 19  \n2.6 Sound propagation in detail 20  \n2.7 Acoustic defects 25  \n2.8 Reverberation time design 28  \n2.9 Sound level distribution 35  \n3 Acoustics for the symphony concert hall 38  \n3.1 Introduction 38  \n3.2 The subjective dimension 39  \n3.3 Objective descriptions 45  \n3.4 Size, volume and form 47  \n3.5 Early reflection design 49  \n3.6 The diffusion question 53  \n3.7 Balcony design 54  \n3.8 Design for the performers (written by A.-C. Gade) 56  \n3.9 Acoustic modelling 61  \n3.10 Objective characteristics 66  \n4 The development of the concert hall 75  \n4.1 Introduction 75  \n4.2 Early developments 76  \n4.3 The classical rectangular concert hall 79  \nvi Contents  \n4.4 The directed sound hall 91  \n4.5 The fan-shaped hall 95  \n4.6 The synthesis in British post-war halls 98  \n4.7 The diffuse solution 98  \n4.8 A subdivided acoustic space? 101  \n4.9 The terraced concert hall 106  \n4.10 The lateral directed reflection sequence hall 110  \n4.11 Concert hall design in the 980s 114  \n4.12 Return to precedents 121  \n5 British concert halls and conclusions for concert hall acoustics 128  \n5.1 Royal Albert Hall, London 130  \n5.2 Usher Hall, Edinburgh 138  \n5.3 Philharmonic Hall, Liverpool 144  \n5.4 Watford Colosseum 149  \n5.5 Royal Festival Hall, London 153  \n5.6 Colston Hall, Bristol 160  \n5.7 Free Trade Hall, Manchester 165  \n5.8 Fairfield Hall, Croydon 170  \n5.9 The Lighthouse Concert Hall, Poole 175  \n5.10 Barbican Concert Hall, Barbican Centre, London 180  \n5.11 St David’s Hall, Cardiff 186  \n5.12 Royal Concert Hall, Nottingham 192  \n5.13 Glasgow Royal Concert Hall 198  \n5.14 Birmi","cbCaioilX29qBOHH","https://ap.wps.com/l/cbCaioilX29qBOHH","pdf",38090418,504,"English","# Preface\n## Preface to the first edition\n## Foreword\n# Introduction\n## Sound and rooms\n## Acoustics for the symphony concert hall\n## The development of the concert hall\n## British concert halls and conclusions for concert hall acoustics\n## Chamber music and recital halls\n## Acoustics for speech\n## Theatre acoustics\n## Acoustics for opera\n## Acoustics for multi-purpose use\n## Multi-purpose halls in Britain","[{\"question\":\"What topics does the book cover about sound and rooms?\",\"answer\":\"It covers sound waves, the nature of music and speech sounds, sound propagation, sound in rooms, reflections and the ear, acoustic defects, reverberation-time design, and sound-level distribution.\"},{\"question\":\"How does the book approach acoustics for concert halls?\",\"answer\":\"It analyzes subjective and objective descriptions, room size and form, early reflections and diffusion, balcony and performer design, and acoustic modelling, with later chapters discussing developments of concert hall types and conclusions.\"},{\"question\":\"Does the book discuss acoustics beyond music halls?\",\"answer\":\"Yes. It includes chapters on chamber music and recital halls, speech in rooms and theatres, theatre acoustics, opera house design, and multi-purpose auditoria using variable acoustic elements.\"}]","Auditorium Acoustics and Architectural Design - Second Edition | PDF",1791845646,176]