Arquitectura e Música: Acústica de Salas de Concerto

• Autor(a) principal: Ana Catarina Martins Maio
• Data de Publicação: 2011
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
• Texto Completo: https://hdl.handle.net/10216/149065
• topic: Artes; Arts

The relationship between Architecture and Music through the acoustics reaches its peak in the spaces purposely built for musical performances such as Concert Halls. Coveting an excellent acoustic space, like a tightly tuned instrument, requires a team effort carried out by the architect, acoustician and musician. For a perfect agreement between the different stakeholders, it has become essential to define a vocabulary that serves as a common basis to the relationship between architecture, music and acoustics. In this work, theoretical concepts of acoustics were analyzed, which are related to the sound waves characteristics, the behavior of sound in enclosed spaces, and some concepts of musical acoustics. It was also examined the historical evolution of spaces for music, with special focus on those that preceded the concert halls for symphonic music as known today. From Antiquity to the twentieth century, there are crossed facts on the history of architecture, music, theater and religion, which stated the acoustic conditions existing in each period, and how architecture and music addressed them. Some examples of building types or particular spaces are presented as case studies, once they are models from different eras, such as the Odeon, Classic Theatre, Italian Opera, Holywell Music Room, Hanover Square Rooms, Altes Gewandhaus, Festspielhaus, Grosser Musikvereinssaal, Neues Gewandhaus and Concertgebouw. It is not essential that the architect overcome the complex knowledge of acoustics engineering. However, he must have both enough training in this field and tools that allow him to discuss different solutions to the project with the acoustician. Therefore, the architect might employ the study of geometric spaces, the type of materials used, and its influence on the sound field created inside the concert hall. The knowledge gained from the study of acoustics theoretical concepts, as well as the characteristics of the form, dimensions and materials of the concert halls throughout history are applied to the study of other examples, grouped according to their geometry. Some spaces are examined geometrically as the Epidaurus Theatre, Aspendus Theatre, Aula Magna in Caracas, Royal Albert Hall, Philharmonie, Kammermusiksaal der Philharmonie, Elbphilharmonie, Boston Symphony Hall and Casa da Música.This work aims to be an introduction to the study of acoustics in concert halls, theme often unknown by the common architect. Here are identified the contemporary architectural trends for this type of space, allowing further studies. A last reflection aware to the need of proficiency of the architect in this field and for the importance that cooperation between architect, acoustician and musician gain in the construction of concert halls, where the acoustics aspires the perfection.