Live Auralization of Cappella Romana at the Bing Concert Hall, Stanford University (original) (raw)

Figures (16)

202 Jonathan S. Abel and Kurt James Werner IW LOVELUSTAUOTL LEISule LU.2, IdAlO1IUIU LOVELULIAUUIL 7. The room response to the balloon pop is also illustrated by numerical simulation. Figure 10.3 presents a sequence of frames demonstrating how the balloon-pop sound represented by a gray line) radiates from a point on the left side of a room (marked by an asterisk) and eventually fills the space with sound energy. A time stamp appears in the upper-right corner of each frame. The balloon pop is first a circle, then it becomes a folded circle after reflecting from the floor. The third frame (Frame 85) shows the wavefront passing through the listener position (marked by a circle) and has a black line between the source and listener; this is the direct path, which presents he route traversed by sound to first reach the listener from the source. The next frames Frames 105 and 256) detail the arrival of the reflection from the floor and a reflection from the back wall and floor. Subsequent frames display the propagating wavefront being broken up into smaller and smaller segments, and tracing more and more complicated propagation paths between source and listener. In addition to the path’s complexity increasing over time, the density of arrivals at the listener increases over ime.

202 Jonathan S. Abel and Kurt James Werner IW LOVELUSTAUOTL LEISule LU.2, IdAlO1IUIU LOVELULIAUUIL 7. The room response to the balloon pop is also illustrated by numerical simulation. Figure 10.3 presents a sequence of frames demonstrating how the balloon-pop sound represented by a gray line) radiates from a point on the left side of a room (marked by an asterisk) and eventually fills the space with sound energy. A time stamp appears in the upper-right corner of each frame. The balloon pop is first a circle, then it becomes a folded circle after reflecting from the floor. The third frame (Frame 85) shows the wavefront passing through the listener position (marked by a circle) and has a black line between the source and listener; this is the direct path, which presents he route traversed by sound to first reach the listener from the source. The next frames Frames 105 and 256) detail the arrival of the reflection from the floor and a reflection from the back wall and floor. Subsequent frames display the propagating wavefront being broken up into smaller and smaller segments, and tracing more and more complicated propagation paths between source and listener. In addition to the path’s complexity increasing over time, the density of arrivals at the listener increases over ime.

Diagram by Jonathan S. Abel, 2015.

Diagram by Jonathan S. Abel, 2015.

Diagram by Jonathan S. Abel, 2015.

Diagram by Jonathan S. Abel, 2015.

sound in a fixed way, without regard to the particulars of the sound. Consider tha iny sound can be thought of as being composed of a sequence of overlapping pulses yr sound “atoms,” each scaled in amplitude according to the sound pressure at tha oint in time. Assume that the response of the space to a single, isolated atom—say he response to a balloon pop—is measured or otherwise known. Now, the response yf the space to a given sound is simply the sum of the known responses of each of he pulses or atoms forming the sound. Put differently, each atom of sound will drag yehind it an entire atom response’s worth (think balloon-pop recording’s worth) o eflections and reverberation.

sound in a fixed way, without regard to the particulars of the sound. Consider tha iny sound can be thought of as being composed of a sequence of overlapping pulses yr sound “atoms,” each scaled in amplitude according to the sound pressure at tha oint in time. Assume that the response of the space to a single, isolated atom—say he response to a balloon pop—is measured or otherwise known. Now, the response yf the space to a given sound is simply the sum of the known responses of each of he pulses or atoms forming the sound. Put differently, each atom of sound will drag yehind it an entire atom response’s worth (think balloon-pop recording’s worth) o eflections and reverberation.

Diagram by Jonathan S. Abel, 2015.

Diagram by Jonathan S. Abel, 2015.

hreshold of human audibility (approximately 60 dB (decibels) below conversation evel). In addition, the listening position for this impulse response, about 10 meters from the balloon, is dominated by reflected energy, the “wet” portion of the impulse response. We can associate certain features of the impulse response with the geometric features of Hagia Sophia. For instance, the large spike around 100 ms (milliseconds) and the “wash” that builds to a wide peak around 300 ms issue from complex reflections produced by the dome and colonnades.

hreshold of human audibility (approximately 60 dB (decibels) below conversation evel). In addition, the listening position for this impulse response, about 10 meters from the balloon, is dominated by reflected energy, the “wet” portion of the impulse response. We can associate certain features of the impulse response with the geometric features of Hagia Sophia. For instance, the large spike around 100 ms (milliseconds) and the “wash” that builds to a wide peak around 300 ms issue from complex reflections produced by the dome and colonnades.

Figure 10.8 Cappella Romana at a recording session, Center for Computer Research in Music and Acoustics (CCRMA), Stage, Stanford University, March 2011. Photograph © Dave Kerr, 2011.

Figure 10.8 Cappella Romana at a recording session, Center for Computer Research in Music and Acoustics (CCRMA), Stage, Stanford University, March 2011. Photograph © Dave Kerr, 2011.

Photograph © Dave Kerr, 2011.

Photograph © Dave Kerr, 2011.

GLY ALLIALU LY UY Idilveis, lid fills QAUUVY LUI SLI Selo UU leur Vel tj. The Stage’s acoustics are somewhat configurable; velour and felt damping materials were deployed to reduce the Stage’s inherent reverberation time to less than a third of a second, a relatively “dead” environment. In this way, the reverberant virtual acoustics generated by the loudspeakers is essentially unmodified by the room. For both the rehearsals and the recording sessions, the Cappella Romana singers arranged themselves in a circle, as before. Countryman B2D 2mm-diameter lavalier microphones with a hypercardioid were affixed to their foreheads with medical tape (Figure 10.10). The fifteen microphone signals were recorded and processed using the digital audio workstation Ableton Live, using the plug-in LAConvolver for real-time convolution, running on a laptop computer.

GLY ALLIALU LY UY Idilveis, lid fills QAUUVY LUI SLI Selo UU leur Vel tj. The Stage’s acoustics are somewhat configurable; velour and felt damping materials were deployed to reduce the Stage’s inherent reverberation time to less than a third of a second, a relatively “dead” environment. In this way, the reverberant virtual acoustics generated by the loudspeakers is essentially unmodified by the room. For both the rehearsals and the recording sessions, the Cappella Romana singers arranged themselves in a circle, as before. Countryman B2D 2mm-diameter lavalier microphones with a hypercardioid were affixed to their foreheads with medical tape (Figure 10.10). The fifteen microphone signals were recorded and processed using the digital audio workstation Ableton Live, using the plug-in LAConvolver for real-time convolution, running on a laptop computer.

Diagram by Kurt James Werner and Jonathan S. Abel, 2016.

Diagram by Kurt James Werner and Jonathan S. Abel, 2016.

Diagram by Kurt James Werner and Jonathan S. Abel, 2016. ne ee For Cappella Romana’ s “From Constantinople to California” concert, held in Bing Concert Hall just two weeks after the hall opened in January 2013, we devised a virtual Hagia Sophia using twenty-four full-range loudspeakers and six subwoofers.** Twelve of the loudspeakers were arranged around the perimeter of the hall and twelve were hung from the ceiling, forming a “dome” of loudspeakers (Figures 10.14, 10.15). The fifteen performers, twelve melody chanters and three ison chanters, were outfitted with B2D microphones and radio transmitters to provide dry chanter signals; for recording, here were eight room mics manufactured by DPA Microphones, two on stage and six flown in the hall.

Diagram by Kurt James Werner and Jonathan S. Abel, 2016. ne ee For Cappella Romana’ s “From Constantinople to California” concert, held in Bing Concert Hall just two weeks after the hall opened in January 2013, we devised a virtual Hagia Sophia using twenty-four full-range loudspeakers and six subwoofers.** Twelve of the loudspeakers were arranged around the perimeter of the hall and twelve were hung from the ceiling, forming a “dome” of loudspeakers (Figures 10.14, 10.15). The fifteen performers, twelve melody chanters and three ison chanters, were outfitted with B2D microphones and radio transmitters to provide dry chanter signals; for recording, here were eight room mics manufactured by DPA Microphones, two on stage and six flown in the hall.

218 Jonathan S. Abel and Kurt James Werner Figure 10.15 Cappella Romana at a dress rehearsal for the concert “From Constantinople to California” at Bing Concert Hall, showing selected loudspeakers (Figure 10.14). a ee ee ae en | ee et

218 Jonathan S. Abel and Kurt James Werner Figure 10.15 Cappella Romana at a dress rehearsal for the concert “From Constantinople to California” at Bing Concert Hall, showing selected loudspeakers (Figure 10.14). a ee ee ae en | ee et

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  397. --. The Use of Sacrificial Ideas in Greek Christian Writers from the New Testament to John Chrysostom. Cambridge, MA: Philadelphia Patristic Foundation, 1979. 2nd ed. Eugene, OR: Wipf & Stock, 2004. singing formula 153; Thrice Holy 149-50 see also Sanctus; Trisagion ("Thrice Holy" hymn) cherubim 143, 145, 148 Chorikios of Gaza 164, 165-69 Christ: "all-powerful" (pantodyname) 119; "all-ruling" 86, 98, 103, 106-07, 109-111, 114-15, 118, 122; "all-seeing" (pantepoptēs) 102-03, 104, 105, 109; angelic procession decoration (Trikomo) 109; anthropomorphizing 104; entry in Jerusalem on a donkey 148; "eyes" (blemmata) 104-05; "no respecter of persons" (aprosōpolēptos) 108; "out of sight" (ex apotopou) 103; "Overseer and Governor of the universe" (epoptēn kai kybernētēn) 114; represented in liturgy 90; "standing against" (exista) 119; terrifying voice 113-14; titles 103, 118-19
  398. Christ "in the clouds" ceiling fresco 119 "Christ is risen" troparion (Χριστὸς ἀνέστη) 25 Christological controversy 81-82
  399. Christ Pantokrator (Icon at the Monastery of St. Catherine, Sinai) 106-07
  400. Christ's Second Coming 103, 116 Christ the Judge image (Trikomo) 116 Christ with Deesis fresco (Trikomo) 101
  401. Chrysaphes, Manuel 143, 146
  402. Chrysostom, John 89 Church as bride of Christ 38, 87 church buildings: agency 167-68; assigning meaning to 90-91; as a human body 168; interiors 133; meditation on 83-84; symbolism 87, 88, 94; synaxis of the faithful 84-85 church of S. Eusebio (Rome) 16 church of S. Pancrazio (Rome) 16 church of S. Saba (Rome) 17
  403. Church of St. Sergios (Gaza) 164, 165-66 Church of Sts. Sergius and Bacchus (Constantinople) 72, 73
  404. "Church of the Holy Apostles at Perachorio and Its Frescoes" (Hawkins & Megaw) 110, 111 Church of the Holy Cross (Belmont, California) 214
  405. Church of the Holy Sepulchre (Jerusalem) 14 Church of the Koimesis (Daphni, Greece) 114, 115 Church of the Panagia Chryseleousa (Strovolos, Cyprus) 115 cicadas 145-46 Clement of Alexandria 102 clericalism 95 "close-miked" recordings 204 Coislin musical notations 64 colonnades 183 Comes of Würzburg 16 Commentaires byzantins de la Divine Liturgie (Bornert) 78
  406. Commentary on the Divine Liturgy (DL, Cabasilas) 90-93 communion 94, 138 see also Eucharistic composite rites 69 composition during performances 60 computer modeling of architecture 184 concave surfaces 179-81, 182 see also domes concert hall acoustics 179-81, 200 conches 128 confrontational power 105 congregations 157, 178
  407. Conomos, Dimitri 144-45, 147, 151-56, 158-59 consecration rites 32, 43, 43-44, 92
  408. Constantine (emperor) 14
  409. Constantinian basilicas 16-17 Constantinople 23-26, 148
  410. Constantinopolitan cathedral rite 69 contrafacta 62-63 see also heirmologia convolution reverberation 199, 201, 208, 215, 224 "convulsive possession" (Caillois) 112
  411. Conybeare, Frederick Cornwallis 37 Copenhagen Cathedral 73 Coptic chant tradition 27
  412. Cosmatesque (S. Clemente, Rome) 21
  413. Council of Chalcedon (451) 81, 148, 149 Council of Constantinople (553) 81-82 Council of Ephesus (431) 81
  414. Countryman B2D headset microphones 209, 210 Countryman B2D lavalier microphones 213, 214 craftsmen 170
  415. Cremer, Lothar 182 Cyprus 116-17 Cyril of Alexandria (saint) 81-82
  416. Dalassene, Anna 102 deaconries 16 decoding-encoding rules 54-55 Dedication of the Holy Cross canon 38 Dedication of the Holy Places of Jerusalem (Encaenia) 39 dedication rites 46
  417. Demus, Otto 131-32
  418. Descriptio S. Sophiae (Paul the Silentiary) 164-65, 168-69, 171 design of buildings see architecture Devereux, Paul 199 diataxis 224 didactic chants 60 Die byzantinische Liturgie (Schulz) 78