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Musical Taste and Concert Hall Design

Published online by Cambridge University Press:  01 January 2020

Hope Bagenal
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Extract

May I ask you to consider with me some questions such as these:—Whether, historically, musicians and listeners, have known what they wanted acoustically and have made demands upon, and modelled, a building type. Or whether conversely an existing building has been the deciding factor? Whether we are now in a historical era quite different from the past and ought to make clear acoustic demands? And if so what demands? And what degree of consent have we on the present musical situation and its vital needs?

Type
Research Article
Information
Proceedings of the Royal Musical Association , Volume 78 , 1951 , pp. 11 - 29
Copyright
Copyright © Royal Musical Association, 1944

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References

1 For Footnotes see p. 27.Google Scholar

1 Vitruvius, Book V, c. 4.Google Scholar

2 Sargaunt's trans. Phormio by Terence. Modos fecit Flaccus Claudi tibüs inparibus. (From Loeb ed.).Google Scholar

3 Suave locus voci resonat conclusus. Satires I (iv.) 76.Google Scholar

4 See Schweitzer's J. S. Bach, Vol. 1, p.210. He is quoting the Necrology in Mizler's Musikalische Bibliothek, IV, Part I (1754).Google Scholar

5 Dent, Mozart Operas, p. 19.Google Scholar

6 Vol. I, p. 158.Google Scholar

7 This famous hall has not, I believe, been analysed by modern recording instruments and its reverberation-frequency curve is not known.Google Scholar

8 It is highly probable that the Queen's Hall built in the 'nineties by the architect Knightley was designed acoustically with the warning of the Albert Hall in mind. Instead of dome, and concave curves on plan, Knightley used convex curves on the section and on the platform part of the plan. He also used tympanic linings of plaster on lath giving a wide band of bass absorption. The reverberation (hall full) was not more than 1-5 second.Google Scholar