By Marshall Long
THE e-book on acoustics for non-acousticians. Comprehensive,concise, and fully obtainable for somebody with an curiosity in acoustics. THE "go to" textual content for audio engineers, sound designers, and musicians who are looking to greater comprehend the actual international that without delay results their paintings.
Read or Download Architectural Acoustics (Applications of Modern Acoustics) PDF
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Additional info for Architectural Acoustics (Applications of Modern Acoustics)
8) carried the art and engineering of working in stone to its highest level. The vaulted naves, over 30 meters (100 feet) high, were lightened with windows and open colonnades and supported from the exterior with spidery ﬂying buttresses, which gave the inside an ethereal beauty. Plain chant was the music of the religious orders and was suited perfectly to the cathedral. Singing was something that angels did, a way of growing closer to God. It was part of the every day religious life, done for the participants rather than for an outside listener.
The purpose, and indeed the existence of these vases, remains unclear. Even Vitruvius could not cite an example of their use, though he assures us that they existed in the provinces. 2 7 Hypothetical Sounding Vases (Izenour, 1977) EARLY CHRISTIAN PERIOD (AD 400–800) Rome and the West The early Christian period is dated from the Roman emperor Constantine to the coronation of Charlemagne in 800. Following the ofﬁcial sanction of Christianity by Constantine in 326 and his relocation from Rome to Byzantium in 330, later renamed Constantinople, the age was increasingly dominated by the church, which provided the structural framework of everyday life as the Roman and then the Byzantine empires slowly decayed.
One notable exception was St. Mark’s Cathedral in Venice. It was built on the site of the basilica church, originally constructed to house the remains of St. Mark in 864. The ﬁrst church burned in 976 and was rebuilt between 1042 and 1085. It was modeled after the Church of the Apostles in Constantinople as a classic Romanesque structure in a nearly square cruciform shape, with rounded domes reminiscent of later Russian orthodox churches. St. Mark’s, illustrated in Fig. 7, was later home to a series of brilliant composers including Willaert (1480–1562), Gabrielli (1557–1612), and Monteverdi (1567–1643).