In:
The Journal of the Acoustical Society of America, Acoustical Society of America (ASA), Vol. 130, No. 4_Supplement ( 2011-10-01), p. 2318-2318
Abstract:
The Venetian Renaissance was a confluence of innovative expression across many artistic disciplines. While architects like Palladio and Sansovino were designing architectural masterpieces in many of the churches built during this period, composers such as Willaert, the Gabrielli, and Monteverdi were composing complex polyphonic works for split-choir ensembles, exploring the tonal and spatial dimensions of musical performance. The large churches built during this period have extremely long reverberation times and provide low clarity for understanding the complex polyphony composed for these spaces. This paper uses modern acoustic simulation techniques to provide insights into the acoustics of large Venetian churches as they would have existed during the Renaissance. In consultation with architectural historians, the authors have collected data on the structure and layout of Palladio's Redentore and San Marco on festal occasions, when large crowds, extra seating, and wall tapestries would have provided extra absorption. Using Odeon, acoustic simulations predict that under festal conditions these churches would have had significant improvements in T30, EDT, and C80. The doge's position in San Marco's chancel has particularly good clarity for sources located in Sansovino's galleries, supporting historian Laura Moretti's hypothesis that these galleries were installed for the performance of split-choir music.
Type of Medium:
Online Resource
ISSN:
0001-4966
,
1520-8524
Language:
English
Publisher:
Acoustical Society of America (ASA)
Publication Date:
2011
detail.hit.zdb_id:
1461063-2
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