Data from 13 North American Concert Halls

(1)

Publisher’s version / Version de l'éditeur:

Vous avez des questions? Nous pouvons vous aider. Pour communiquer directement avec un auteur, consultez la première page de la revue dans laquelle son article a été publié afin de trouver ses coordonnées. Si vous n’arrivez pas à les repérer, communiquez avec nous à PublicationsArchive-ArchivesPublications@nrc-cnrc.gc.ca.

Questions? Contact the NRC Publications Archive team at

PublicationsArchive-ArchivesPublications@nrc-cnrc.gc.ca. If you wish to email the authors directly, please see the first page of the publication for their contact information.

https://publications-cnrc.canada.ca/fra/droits

L’accès à ce site Web et l’utilisation de son contenu sont assujettis aux conditions présentées dans le site LISEZ CES CONDITIONS ATTENTIVEMENT AVANT D’UTILISER CE SITE WEB.

Internal Report (National Research Council of Canada. Institute for Research in Construction), 1994-07-01

READ THESE TERMS AND CONDITIONS CAREFULLY BEFORE USING THIS WEBSITE.

https://nrc-publications.canada.ca/eng/copyright

NRC Publications Archive Record / Notice des Archives des publications du CNRC :

https://nrc-publications.canada.ca/eng/view/object/?id=08675a83-11b9-4405-9157-5e6bb413bad9 https://publications-cnrc.canada.ca/fra/voir/objet/?id=08675a83-11b9-4405-9157-5e6bb413bad9

NRC Publications Archive

Archives des publications du CNRC

For the publisher’s version, please access the DOI link below./ Pour consulter la version de l’éditeur, utilisez le lien DOI ci-dessous.

https://doi.org/10.4224/20375458

Access and use of this website and the material on it are subject to the Terms and Conditions set forth at

Data from 13 North American Concert Halls

(2)

Data from

13 North American Concert

Halls

B r a d l e y , J . S

(3)

Page 1

Acknowledgments

The author is very grateful for the financial support of the Concert Hall Research Group for the travel costs to the 13 halls and for student help in preparing this report. The assistance of Mr. Scott Norcross in making these measurements and of Mr. Jonathon Hughson in producing the plots for this report is gratefully acknowledged and was much appreciated.

(4)

Page 2

Table

of Contents

1

.

Introduction

...

3

2

.

Defdtion of Acoustical Measures

...

3

...

3

.

Measurement Systems and Procedures 6

...

4

.

Description of the Data 7 Akron. Ohio; E.J. Thomas Performing Arts Hall

...

11

Baltimore. Maryland; Joseph Meyerhoff Symphony Hall

...

19

Boston. Massachusetts; Boston Symphony Hall

...

25

Brandon. Manitoba; Western Manitoba Centennial Auditorium

...

31

Buffalo. New York; Kleinhans Music Hall

...

39

Cleveland. Ohio; Severance Hall

...

45

...

Detroit, Michigan; Orchestra Hall 51 Lennox. Massachusetts; Tanglewood Music Shed

...

57

Philadelphia. Pennsylvania; Academy of Music

...

63

Troy. New York; Troy Music Hall

...

69

Washington. D.C.. Kennedy Center Concert Hall

...

75

...

Winnipeg. Manitoba; Manitoba Centennial Auditorium 81 Worcester. Massachusetts; Mechanics Hall

...

87

(5)

Page 3

1. Introduction

This report contains the results of detailed acoustical measurements in 13 North American Concert Halls. Nine of the halls were measured in May 1992 in parallel with measurements by Dr. Anders Gade from the Danish Technical University and Dr Gary Siebein from the University of Florida. These comparative measurements were the first measurement project supported by the Concert Hall Research Group. They were intended to obtain an extensive database of measurements in North American halls and to permit comparisons of the different measurement systems used by the

three

research teams. Details of the comparisons have been reported[l to 61, but the complete data has not been available for bthers to use. This report makes this data, and data from four other halls, available to consultants and other researchers.

A recently released draft international standard @SO 3382)[7] includes definitions of most of the auditorium acoustics measures included in this reDort. Thus, the data in

this report give values of these, mostly newer types of acoustical measures, in a wide range of different ha&. It is hoped that the wider distribution of the data will allow a greater number of users to gain experience with the newer measures and to contribute to their further development.

This report contains no analyses of the data other than the calculation of hall-averages and standard deviations of each measure. Many analyses are possible, and it is hoped that others will make use of this data to perform their own investigations. It is also hoped that the data will be of considerable practical value to consultants wishing to gain experience in using the various measures to solve acoustical problems in halls.

2. Definition of Acoustical Measures

The values of 17 different acoustical measures are ~rovided in this report. These include decay times, sound levels, and various ene& ratios.

All

are hcluded on tde associated data d i e t t e . Hall-average values of most of these are included in the data tables for each hall in this report- plots of hall-average values versus frequency are included for the principal measures. For all measures, data is provided for all six

octave bands from 125 to 4000 Hz. This allows users of the data to perform their own averages over various frequency bands. However, in some cases such as for the Support measures, the results in some octaves may not be very meaningful.

The 17 different acoustical quantities include 14 measures obtained at locations in the audience areas of the halls and 3 on-stage measum representative of conditions that performers would experience. Of the 15 audience area measures, seven relate to spatial impression or binaural effects, and the remaining eight are measures of decay times, relative levels, and the balance between early and late arriving sound energy. Two different decay times were measured. The conventional reverberation time (RT)

(6)

Page 4

is stopped. RT values were calculated from straight line fits to the portion of the &cav curve between -5 and -30 dB below the maximum level using Schroeder's integrated impulse response technique[8]. Early decay times (ED5 are also measures of the time required for the sound energy to decrease by 60 dB, but are calculated from straight line fits to the k t 10 dB of the decay. While RT values are physically

important, EDT values are more strongly related to subjectively perceived reverberance

G, the overall strength or relative level indicates the level of the sound at a point in the room relative to that of the same source at a distance of 10 m in a free field. (A

free

field is similar to outdoor conditions with no reflecting surfaces and can be

approximated by measurements in an anechoic test room.) G is defined as follows:

where p(t) is the instantaneous pressure response to an impulse source and p i is the instantaneous pressure response of the same source at a distance of 10 m in

a

free field.

Early-to-late arriving sound energy ratios have been calculated for various temporal divisions between early and late reflections. C80 with a 0.08 s early time limit is calculated as follows:

C80 is a measure of clarity or the balance between clarity and reverberance. C35 &d C50 are similarly calculated but with 0.035 and 0.05 s early time limits.

The lateral energy fraction (LF5) is the fraction of the early amving sound energy that arrives from lateral dictions. It is defined as follows:

where p ~ ( t ) is the instantaneous lateral pressure response measured with a figure-of- eight microphone with its directional null pointed towards the centre stage source position. LF5 values are related to spatial impression, which includes an apparent broadening of the sound source.

Three other variations of the lateral energy fraction were also measured. These include two different starting points for the integration of the lateral energy and both

(7)

Page 5

cosine and cosine squared directivity patterns, Kleiner's technique for obtaining results approximating a cosine directivity pattern was used[9]. Starting the integration at 0.005 s after the direct sound is intended to better eliminate the

influence of the direct sound, but in practice the effects of shifting the integration start point are very small. Although most measurements in halls have used a cosine

squared directionality, the cosine directionality is closer to the original subjective studies[lO]. These are given in the following table.

An alternative measure of spatial impression is the inter-aural cross correlation. The Cross-correlation function is defmed as follows:

Symbol

LF

LF5 LF-c LF5-c

The IACC is the maximum absolute value of the cross-correlation function for

1 d

5 1 ms. Three different variations of the IACC were calculated: IACC(e),

IACCO), and IACC(t) that were obtained using the early, late, and total time intervals

of the impulse response. Again the early sound is considered to be the first 0.08 s of the impulse response. Thus the three IACC values can be defined from the above equation and the integration limits in the following table.

Start of lateral energy integration, s 0 0.005 0 0.005

Gade has devised measures of the support that the performer experiences from the hall. These are now defmed for early, late and total parts of the impulse responses measured on-stage at a distance of 1 m from the source[l I]. For these

measurements, the source height was 1.0 m, in conformance with Gade's recommendations. The three support measures are defined as follows,

Directional pattern cosine cosine cosine squared cosine squared Integration limits, s IACC(e) IACC(1) IACC(t) T1 0 0.08 0 T2 0.08 1.0 1.0

(8)

Page 6

STCt) = 10. _(t)

.

_{dt/rP2 (t) dt}.} _dB ₍₇₎

As for the audience measures, p(t) is the instantaneous pressure response to an impulsive sound. These support measures can be approximately thought of as

reflected to direct sound ratios. Because of the small time internal used for the direct part of the ratio (10 ms), the support measures are not very meaningful at 125 Hz. Gade calculates averages of the results for the four octaves from 250 to 2000 Hz.

3. Measurement Systems and Procedures

The acoustical measures were obtained using two different computer-based

measurement systems. The Room Acoustics Measurement Software (RAMSoft-If) was used to obtain most of the measures including decay times, levels, and energy ratios. The Binaural Room Acoustics Measurement program (BRAM) was used to obtain IACC values.

The RAMSoft-I1 program fxst calculates impulse responses using a Maximum Length Sequence (MLS) signal and a Fast Hadamard Transform procedure[l2]. The MLS signal is output from a digital to analogue converter via a power amplifier to a duodecahedron loudspeaker. The signals from an omni-directional condenser

microphone and a figure-of-eight microphone are digitized using a 16 bit analogue-to- digital converter at a sampling rate of 12,780 samples/second. The broadband

impulse responses are filtered into octave bands and the various measures calculated in software on a portable computer. Decay times are calculated by straight line fits to the reverse integrated decay curves. EarlyAate energy ratios are calculated by fust dividing the broadband impulse response into early and late parts and then filtering both parts into octave bands. This avoids errors due to the smearing of energy past the early time window by the filtering process. The calculated octave band measures are output to standard spreadsheet files for further plotting and processing.

The BRAM program also uses MLS signals and a Fast Hadamard transform

technique to obtain impulse responses. This program samples the microphone signals at 32,000 sample/second. The same duodecahedron loudspeaker is used as the sound source, and the receivers are the two internal microphones of a Briiel and Kjaer head and torso simulator. The

IACC

values are subsequently calculated from each pair of binaural impulse responses in each of the six octave bands from 125 to 4000 Hz and for the early, late, and total parts of the impulse responses.

(9)

Page 7

Typically, three source positions and 10 to 14 receiver positions were used in each hall for the RAMSoft-II measurements. The centre source position was located at the centre of the stage and approximately 2 m up stage from the fmed leading edge of the stage. (The actual source positions are given with the data for each hall.) In addition to the centre source position, a stage left and a stage right position were also used that were typically about 4 m up stage from the leading edge of the fmed stage and approximately 4 m either side of the centre-line of the hall. For all measurements (except on-stage Support measures), the source was 1.5 m above the stage floor. The conditions on stage during the measurements

are

noted for each hall.

The receiver positions were located on one side of each hall because the halls included in this report are all symmetrical about the centre-lime. Receiver positions were

selected to be evenly distributed throughout the audience seating areas.

The BRAM measurements were made using only the centre source position and 6 to

12 receiver positions in each hall. The Briiel and Kjaer head and torso simulator was seated in audience chairs with its ears at a typical ear height.

4. Description of the Data

Six pages of data are included for each hall. In a few cases there are more pages of data because multiple configurations of the same hall were measured.

Swrca Coordinates C ( ~ , . Y , ) L ( X L . Y L) R(XR.YR)

AUDIENCE

figure 1. Source position coordinate system.

The first page for each hall consists of text describing the hall and the measurement positions and conditions. The date of the measurements and the number of audience seats in the hall are given. There were three source positions used in each hall which

(10)

Page 8

are referred to as C (centre stage), L (stage-left), and R(stage-right). The coordinate system used to described these positions is describedin Figure 1. The x-coordiate of each position is the distance up-stage from the leading edge of the stage and parallel to the centre lime of the hall. The y-coordiiate is the distance across the stage from the centre-line. A positive y-coordinate refers to a stage-right location and a negative y-coordinate refers to a stage-left position. Receiver positions are given as the actual seat number in the hall and are shown on the sketch of the plan of the half shown on the second page. Finally, there are comments concerning conditions during the measurements and references to publications that describe the hall.

The second page gives a sketch of the plan and longitudinal section of the hall. The sketches are approximately to scale but some details may not be completely accurate. The source and receiver locations are shown on each plan and also where helpful on the section.

The third page presents plots of hall-average and standard deviation values of the principal measures in each hall. There are four pairs of plots on each page; the upper plot of each pair shows the hall-average values, and the lower plot the standard deviation values. The shaded area shows the range of the hall-average values of each quantity for a l l 13 halls included in this report. The upper left plots show the hall- average values of the reverberation time

01T)

and the early decay time

(EDT)

of each hall. In this case, the shaded area refers to the range of EDT values and not to the RT values. The upper right hand plots are of the relative level (G) values. The lower left plots are of the C80 values and the lower right the LF5 values.

The same haIl-average values are included in tabular form in the top half of the fourth page. This table also includes hall-average values of the three IACC values (IACC(e),

IACCQ,

LACC(t)) and the three support values (ST(e),

STQ,

ST(t)). The three plots at the bottom of this page show the hall-average IACC values and the range of these hall-average values for the 13 halls.

The fifth page includes three plots of measures versus source-receiver distance.

These are the 1000 Hz values of RT, EDT, and G. A linear regression line was fitted to the data of each ploe Banon's revised theory[l3] is also included on the plot of G

values versus source receiver distance. The equations of the regression lines are included at the bottom of the page.

The sixth page of data shows the initial part of measured impulses at four

representative seat locations for measurements using the centre source position. In

each pair of plots, the upper plot is the impulse response from the omni-directional microphone measurement showing pressure on a linear scale versus time for the first

150 ms of the impulse response. The lower plot shows the magnitude of the impulse response obtained using a Hilbert transform technique.

(11)

Page 9

In two halls there are extra sets of hall-average plots. In the E.J. Thomas Hall in Akron, Ohio, three sets of measurements were made. This is a variable geometry hall and the hall was measured: (a) complete with both balconies included, (b) with the ceiling lowered to remove the upper balcony, and (c) with the ceiling lowered to exclude both balconies from the hall. The Western Manitoba Centennial Auditorium

in Brandon, Manitoba, was measured with its acoustically absorbing banners fully exposed (down) and completely withdrawn (up).

The report is available with a computer diskette containing the measurements at individual seats in each halL The contents of this diskette are described in the Appendix.

(12)

Page 11

E

J. Thomas Performing Arts Hall

Akron, Ohio, U.S.A.

Date of measurements: 15 May 1992

Temp: 23°C R.H.: 27% Volume: 19,800 m3 Number of seats Main floor 876 First balcony 1508 Second balcony 585 Total 2969

Source positions: (from the centre of the leading edge of permanent stage, m)

Receiver seat locations: (receiver height 1.2 m)

Main floor G32 G43

N43 N55

First balcony E46 E63

056 080

Second balcony D53 D77

Comments

Variable geometry h a . Measurements were also made for the second balcony closed off, and for the f m t and second balconies closed off.

Music stands and chairs on stage during measurements and orchestra shell in place.

References

(13)

EJ. Thomas Performing Arts Page 12

(14)

EJ. Thomas Performing Arts EaU Page 13

Frequency, Hz Frequency, Hz

a

'$25 250 500 1000 2000 4000 '125 250 500 1000 2000 4000

Frequency, Hz Frequency. Hz

(15)

EJ. Thomas Performing Arts Ball Page 14 I 1 Q h Frequency. Hz Frequency, Hz

a

'125 250 5M) 1000 2000 4000 '125

-

250 500 1000 2000 4000 Frequency, Hz Frequency, Hz

(16)

EJ. Thomas Pertorming Arts HsU Page 15 Frequency, Hz Frequency, Hz 6 0.3 3 - 0.1 -6' L 3

-

$h 0.15 s%$<, $$&

_*&&kX

%?

p%@>2:w&c%3%$

&vM?,.,yx*<,

-$q&yi$<

."s"~**@$~~~'?~q>$~~~~~~@~?"":y~*~:":

~Bp&<*&+>*h4x&a:.><\*j$ *cxx 0.1

g

?$,"*&$.**& LA*.% : *,.,

xyi

% ,%' %3!$943~;x$$*ys;~<3y3 a

-<.**

&3.. &*x .%~.*.<3i*pk~2'I'.,<*?*~~*$s*4$<"2

P

e*$=*<xd"..- "+;$&&$<$&$b, .A ..,..,:?. ~:+-.<9.. ,+>:%,. ;v.x-;g$> ~ ~ ~ ~ F x

rn l - v w$$* \w.:+:,.,: _..$ _*--,

*\+

..?*\ _+A~"y*.-...d ~ ~ ~ . s ~ ~ * > % ? ~ . : . * v < -,.-~.*-w*ss -*,. 0.05 '.**.-

Oi;5 2;0

d o

IWO 20b0 40z0 O12.5 250 500 IMX) 2000 4000

(17)

EJ. Thomas Performing Arts Hall Page 16

Octave band hall-average data.

0.6

-

0

Y

-

0.4 - 0.2 - O

_;w

L 250 500 1030 ZOX 4000 125 2 5 0 5 0 0 1 0 0 0 2 0 0 0 4 0 0 0 Frequency, Hz

(18)

EJ. Thomas Performing Arts Hall Page 17

-10

10 15 20 25 30 35 40

DISTANCE, m

Variation with distance of 1000 Hz data. Linear regression equations:

RT = -0.001

*

DIST

+

1.83, s EDT = 0.001

*

DIST

+

1.65, s

(19)

E J. Thomas Performing Hal1 Page 18 m a IBDL m. oa .oI. m l ~ m a w,. Ims. -,U1. m. 4mr. dm. -. *,lo. m.

.,M 10.0 a0 Ym 0 m.0 11&0 19.0 IYU1 -~o.c >&,o 11.0 10.0 . wo naa iwr imo

ma.m Trn, n, ,YO m. ,dl% m 11x m. m. )159 M wm IBa nio. 275. (ya 1BB m. 7.l.. nn TW. r m SEAT: G32 SEAT: N55 m 2m. an. am. ma m. ,875 ,m. ,m 7 x 0 7,s. w. m. m 91. 3m.

-30.0 in. m.o ion mo soo noa w . ?ma

ra, "S TM. m.

SEAT: Balcony E46 SEAT: Balcony 080

(20)

Page 19

Joseph Meyerhoff Symphony

Hall

Baltimore, Maryland, U.S.A.

Temp: 24OC R.H.: 24% Volume: 21,500 m3

Number of seats

Main floor 1359

First balcony 566

Second balcony 540

Total 2465

Main floor HI06

U105 EE106

First balcony E l 11 Box G left, seat 14

Second balcony E l 1 l Sec B left seat C7

Comments

Music stands and chairs on stage during measurements and QRD diffusers around rear and side walls of stage.

References

Beranek, L.L., "Concert Hall Acoustics -1992", J. Acoust Soc. Am., Vol. 92, No. 1, pp. 34, 1992.

(21)

Joseph Meyerhoff Symphony Hall Page 20

(22)

Joseph Meyerhoff Symphony HPU Page 21 4

-

0.6

'

L ' 1 ;

s 2&

5d0

lob0 2&0 4&0 '125 250 500 1000 2000 4000

Frequency, Hz Frequency, Hz

0

125 250 500 1000 2000 4000

Frequency, Hz Frequency, Hz

(23)

Joseph Meywhoff Symphony Hall Page 22

Octave band hall-average data.

oh

I, J

250 SM) 1000 2MX) 4000 125 2 5 0 S M ) i W O 2 M M 4 0 0 0

Frequency, Hz

(24)

Joseph Meyerhofl Symphony Ed Page 23

Variation with distance of 1000 Hz data. Linear regression equations:

RT = -0.00266

*

DIST

+

2.44, s

EDT = -0.00301

*

DIST

+

2.35, s

(25)

Joseph Meyerhoff Symphony Hall page 24 SEAT: U105

-

I I

-

-2M

M

IM 9 0 mP m.0 so* ,700 19.0 7-0 Tim,.. BDm m. am. llIO m. 2% ,m. M &

.,on 0 ao mn m.0 m* ,too ,Pa is0 Tm. n.

SEAT: E E l l

a.s

1

Tm. n

SEAT: First Balcony E l 11

RnaM

SEAT: Second Balcony E l 11

(26)

Page 25

Boston Symphony Hall

Boston, Massachusetts, U.S.A.

Number of seats

Main floor 1486

First balcony 598

Second balcony 547

Total 2631

Main floor H2 1 H30

020 030

221 230

KK20 KK30

First balcony B22 B33 B28 (side balcony)

Second balcony C23 C35 B28 (side balcony)

Comments

Music stands and chairs on stage during measurements. References

Beranek, L.L., "Music Acoustics and Architecture", John Wiley and Sons, pp. 93, 1962.

(27)

Boston Symphony HaU Page 26

(28)

Boston Sympeolly HPU Page 27

'I", 2 0 5d0

lobo

mb0 40i0

'I",

&

40

lo00 mb0 40i0

Frequency, Hz Frequency, Hz

-

'125 250 500 1000 2000 4000

(29)

Boston Symphony Hall Page 28

0 1. I , J

125 250 500 1WO 2WO 4WO 125 250 5 0 0 I W O X X X ) 4 0 0 0

Frequency, Hz

(30)

Boston Symphony Hall Page 29

Variation with distance of 1000 Hz data.

3 2.5 V) I-- n 2 - W 1.5 1 10 5 m u 0 .

"

-5 -10 5

Linear regression equations:

RT = 0.00110

*

DIST

+

2.67, s EDT = 0.00705

*

DIST

+

2.20, s G =-0.150*DIST+8.21,dB

-

n

_e

0 0 E

-

0 % n n ,.%- - F- a P ~ - 8 - 0 - - - - 0 0 0 n n--- ---:--- . - - - r - - - - 0 0 0

a

n 0 _n 0 11 0 - - 0

...=

.

--

Barron theory ...

---=-a-wa"e

,.,. n... -

----

a p- _... _... n=---

L.

0 0 - i - * + . k - 9 - - - - n - ,

.

0 0 " . - - 10 15 X) 25 30 35 40 45 DISTANCE.

rn

(31)

Boston Symphony HPn Page 30 SEAT: 0 2 0 SEAT: Balcony B22 SEAT: 230 T o . m. SEAT: Gallery C23 Impulse responses from centre source position.

(32)

Page 31

Western Manitoba Centennial Auditorium

Brandon, Manitoba, Canada

Date of measurements: 24 September 1992

Number of seats

Main floor 867

Total 867

Main floor f28 F8

LA6

L28 L8

R46 R28 R8

Comments

Fore-stage in place. Piano on stage, no chairs or music stands.

(33)

Western Manitoba Centennial Auditorium Page 32

(34)

Western Manitobn Centennial Auditorium Page 33 Frequency, Hz Frequency, Hz 0.3

5

0.2 c3

'

4 0.1 0.15

:

0.1

P

m 0.05 0 ₁₂₅ ₂₅₀ 500 1000 2000 moo . . 6 m 3

"

g-

9

4 -3 - 6 ' 3 %?

g

0 $ 1 Frequency, Hz Frequency, Hz

Hall-average data and associated standard deviations

-

banners up.

~ $*,*.$a ~ y * ~ ~ ~ x g <

*xx:x., :<*k<~g:.~~-.

<*a

~.

%&a$&*~?f?$>4Q

*&$&<@&$@@$g@jgs4

- _{**8y*wa$*$~b~*~~+aq~F+~~~e~+@~$$B$&*&}* * ~ * & ~ 4 > ~ $ ~ ~ & * $ + @ + $ ~ ~ ? ~ 3 ~ < $

' g<3$&g82>p~&$~*~$+&$$~i~~@$~~@

' * . : > . ; ~ . & ~ ~ ~ ~ ~ ~ * ~ ~ ~ $ ? : & * ~ ~ > ~ > ; ~ ~ ~ ; . . ~ , ~ . ; 2 ~ ~ ~ ~ ~

& 6 ~ c ~ ~ ~ * ~ * I i ~ 2 ~ ~ ~ ~ , 3 ~ ~ . ~ g ~ ~ ~ s ~ P P P P p P P P ' ".:?>:*?p2@?i<

; < : ; ~ j ~ > ~ # ; ~ ~ ~ ; ; ~ g & & ~ ~ ~ g ~ s s w ~*

:

~ _{a$*+>n ,++,B}& ~BBB. $k+e+<bs+,~ ~ , ~

."

~ ~ $ 2 ~ & ~ ~ & ~ ~ ~ ~ ~ ~ & ~ ~ ~ ~ ~ ~ x ~ ~ ~ ~

~Fwh%*d$*&%3g*& d~>&@~s$*&s*KB4>.**b , >x.>><*.**.+\' ,

$ 3 ; ~

L - $:&, ? $ $ ' $@@*; ,*$x.*y\ *:x*i*&:*y*+,,

-""'?**x%+. <pFqP% >%s$$&$$rn:*-".,:*:?%. *x+%F ppcF&$$$ .~ <-** \".,y.p. r. ~*,

"

<%>~~.,.~*x?.b 9%. .r .-?: .~ a,,*y>*>..< *>y*&&, *-.. .

.>*a* &A~&;~i~E1~$~&~~?~~*wSS:&:l:~~,"~s:.i$~ -a,22< ss&xw*>, y>*?m$$x, *<v22 .,x.?~ .3>.3$**

%*@. ..x.L++>s &,& * < , ~ ~ X X % . , ~ * & : + ~ ~ * ~ ~ * ~ ~

**$i$w <

*

$&!&$$, !A; . . . , Y G . : . ~ ~ . . .

-

*. q>.<+:.*:g*?&9$y$3&&*w*2*4$&

.'$&

?%<$.$?h*% "*$**?si%i*3*

' 4>.%+ X>.,*~*YYY

~ hwLi

(35)

-

'125 250 500 1000 2000 4000 '125 250 500 1000 2W0 4000

(36)

o

k5

&

,3 &2 2 &O l d o o

2dW

Frequency, Hz

(37)

5

%

0 .

c5

-5

-10

RT =-0.00159*DIST+l.l9,s EDT = -0.0180

*

DIST

+

1.44, s G = -0.227

*

DIST

+

4.61, dB

. .... _.._

Barron theory - 0

..-..----.

.. -...

-

..-.

..

. .

.

. . . . , . , .

. . .

.-.

. . .

. .. , .

.

.- .. -.

- - - - _ _ _ _

0

d

... Q - - - 0 +-'W-U;-~-

---

m-Q "

- -

I - - _ _ " - 0

*----

-

- ., 5 10 15 20 25 DISTANCE, rn

(38)

Western Manitoba Centennial Auditorium Page 37 mm. m. w. ma Bm. LYI) 27s. -. am. m. tisi. asa ,m. tya. M . m. n SEAT: L8 ... 61W. as. 25m. ,an. - 3 2 7 5 2 8 0 ~ a. 4101. ,.,- SEAT:

R8

SEAT: R46

(39)

Page 39

Kleinhans Music Hall

Buffalo, New York, U.S.A.

Date. of measurements: 4 May 1992

Temp: 20°C RH.: 40% Volume: 18,220 m3

Number of seats

Main floor 1575

Fist balcony 1264

Total 2839

Main floor GllO G15

QllO Q2 1

YllO Y15 Y33

F i t balcony E l 12 E25

MI09 M23 M2 1

Comments

Beranek, L.L., "Music Acoustics and Architecture", John Wiey and Sons, pp. 99, 1962.

(40)

Kleinhans Music Hall Page 40

(41)

Meinham Music Hall Page 41

'125 250 500 1000 2000 4000 5 2 0 4 0 10'00 2000 40iO

'125 250 500 1000 2000 4000 '$25

-

250 500 1000 2000 4000

(42)

Meinham Musk Hall Page 42

I . I

250 500 iOOO 2WO 4000 125 250 5 0 0 l ~ 2 W O 4 0 0 0

Frequency, Hz

(43)

Meinbans Music Hsll Page 43

RT = -0.0000410

*

DIST

+

1.69, s EDT = -0.0227

*

DIST

+

2.00, s G = -0.113

*

DIST

+

4.90, dB 10 5 m u 0 .

6

-5 -10 ... ...

-

".

..a,. Barron theory

.-n--gF:--_ ... w n

-

- i 5 10 15 20 25 30 35 40 45 DISTANCE, m . -

(44)

Meidam Music Hall Page 44

-

2121 ,~ ~ en ma 1D8. 1 3 8 is* 881. a .,=a. a. -. .,m. -. dm. zn..

.,b 10.0 n.0 roo m.0 sD0 lld.0 (PO 3roa .,ao lO.0 Pa roo m o sa.0 ,,OD i s 0 croo

Tm. m x n . m am. 22% tm. M -10.0 10.0 P.0 ma IO.0 800 ,,Dl0 I P . 0 1m.o T w , m SEAT: QllO l ( p

I

-~

I

'

_I -. , , l . l . l ~ l ~ t . l ~

,GO w,o roo m~ w r 0 i s a 7-o Tmc. nn

SEAT: Y33

W?

I

. ., .

SEAT: Balcony El 12 SEAT: Balcony M51

(45)

Page 45

Severance

Hall

Cleveland,

Ohio,

USA.

Number of seats

Main floor 782

Box level 170

Balcony 938

Total 1890

Main floor Sec. B F11 Sec. C F6

Sec. B 0 1 2 Sec. C 0 8

Box level Box 5B Box 17B

Balcony Sec. E CC4 Sec. D CC6

Sec. E Dl0 Sec. D D8

Sec. E KlO Sec. D K9

Comments

Beranek, L.L., "Music Acoustics and Architecture", John Wiey and Sons, pp. 123, 1962.

(46)

Severance Hall Page 46

(47)

Severance Aall Page 47

6 %,., v ~ s ~ * & ~ < p ~ : ~ ~ + 0.3

,**3Tq:&m?%$&$3:+$

&e.t*kq @g&$ ,*@$i *&@E$ .*F$&$*xs$?$$s**.*>**A. -.+x *>:<..<

3

-

+ $ c 1 + ~ ~ ~ ~ ~ ~ ; ~ ~ r 8 & b ~ & k * ~ ~

m

v , ..,*< **.;~~~.*.vv*~k*~;$.*<*>%>.~

-*,

y~x.:.%:$y$?$: .,*,*3q ;:$$$~~g~g$ <,<x$t><**A*&<3:2$

sq$s~z&*3~;&$3*k*~%$**&q*$3g2F3&4

' $ @ W ~ $ B @ & & ~ S : : & $ ~ @ & S ; ~ ~ ~ <

5

0.2

"

0 &3

**sG4p<~<$$$$~j$~&@*&~~qp**F$*&+~:**

2*>.v :$&*;:. ,... ,.:,xy~&$s*.:<~y.q?~.*s.*2,,,, CI

9

.

~ ~ ~ ~ & + s 4 ~ s b ~ F 2 v E w + ~ . * 3 $ ~ ? ~ ~ ~ ~ ~ ~ , + s s , ~ k ~ ~ a ~ ~ ~ r r + ~ y ~ s % ~ ~ ~ ~ ~ * n ~~~$,.Ayp+~ ,,,* %*A,: . .,a\ 0

5

-3 -$(~""&@$$B.:$Y~~~"P~&Q. , " .$$$3g3.* *a*adh= _0.1 $&+*> -6

'

0.15 0.05 '155 240 500 l i b 0 20b0 4000 '125 250 500 1000 2000 4000 . Frequency, Hz Frequency, Hz

(48)

0 k 5

I. 1

250 500 loo0 20(]0 4W0 125 250 5 a ) l w O 2 0 ( ] 0 4 W O

Frequency, Hz

(49)

3 2.5 ul I--

u

2 - 1.5 1 3 2.5 In

+-

n 2 - W 1.5 1 to 5 m D 0 .

ci

-5 -to 5

RT = 0.00209

*

DIST

+

1.73, s EDT = -0.00758

*

DIST

+

1.86, s G = -0.117

*

DIST

+

5.92, dB -

-

*-&

-,,-=---

E+fa---e-n+* - - n - - f a - - - S a n - fa

-

.

fa 0 fa fa

.

_B I3Q fa - - - P

---

fa ---e--D---n---5,faa---Q--_o_rT fa fa fa

-

fao fa fa f a n f a -

-

..I. .a,...

-

----

0.. f a

-

.

a . f a '1

JBerron

theory m-

- -

c:.@2:.:3.

.-

...

.

- - - ~ ~ r + + _ - . . a ... .fa f a n --o--z-r, _fa - - 10 $5 20 25 30 35 40 DISTANCE,

rn

. - . .

(50)

Severance Hall Page 50 nn. nn SEAT: F11 Rm,m SEAT: 0 8 M

'DO 'DO S O YID DO eoo l l a o 0 !(a0 Trn. m

SEAT: Balcony D l 0 SEAT: Balcony K9

(51)

Page 51

Orchestra

Hall

Detroit, Michigan, U.S.A.

Number of seats

Main floor 95 1

Box level 168

Balcony 903

Total 2022

Main floor H8 H24 P8 P26 EE8 ee26 Box level 04 V3 Balcony D8 D28 M8 M28 BB8 DD28 Comments

Music stands and chairs on stage during measurements. Both stage l i i raised to make full fore stage.

(52)

Orchestra E M Page 52

(53)

OrchesbP Hall Page 53 '125 250 500 1000 2000 4000 '125 250 500 1000 2000 4000 Frequency, Hz Frequency, Hz

-

'125 250 500 1000 2000 4000 '125

-

250 500 1000 2000 4000 Frequency, Hz Frequency, Hz

(54)

Orchestra Hall Page 54

0

2 -

250 5W loo0 2WO 4000 125 250

Frequency, Hz

(55)

Orchestra Hall Page 55

10

Barron theory

RT = 0.000132

*

DIST

+

1.93, s EDT = -0.00410

*

DIST

+

1.88, s G = -0.0916

*

DIST

+

5.86, dB m u 0 .

ci

-5 -10 0 n 0

-

- 10 15 20 25 30 35 40 45 DISTANCE. m

(56)

SEAT: EE28 SEAT: P8

SEAT: Balcony D8 SEAT: Balcony DD28

(57)

Page 57

Tanglewood Music Shed

Lennox, Massachusetts,

U.S.A.

Date of measurements: 23 August 1993

Temp: 23OC RH.: 78% Volume: 42,450 m3

Number of seats

Main floor 5121

Total 5121

Main floor Section Row Seat

1 2 4 6 Box 8 12 14 16 18 20 10 10 10 I 1 (rear side) 12 10 6 7 7 4 Comments

Beranek, L.L., "Music Acoustics and Architecture", John Wiey and Sons, pp. 139,

(58)

Tanglewood Music Shed

Plan and section sketches showing hall source and receiver positions.

(59)

Tanglewd Mosic Shed Page 59

5 2 0 5& lob0 2000 4dO 0lk5 2 5do lo00 2000 40iO

0.05

'125 250 500 1000 2000 4000 '125 250 500 1000 2000 4000 _{. .}

(60)

Tanglewood Music Shed Page 60

O

:is

I, I

250 500 1WO XYX) 4WO 125 250 5 0 0 1 W O 2 0 0 0 4 W O

Frequency, Hz

(61)

Tanglewood Music Shed Page 61

fi-

n

2

W

RT = 0.00239

*

DIST

+

3.01, s EDT = 0.0135

*

DIST

+

2.52, s G = -0.172

*

DIST

+

4.43, dB 10 5 m 0 0 :

6

-5 -10 ...

_...

_Barron_theory ... - - Q Q F ~

c"'.".

.

_-

_{- - = - - - - E E L - -} _"

L.

_... Y

- -

-

- - - _ _

0 o-=--.LL---_- 0 0 - - - g m o 0 iiana--o.O-o---

-

0 n - 10 15 20 25 30 35 40 45 50 55 DISTANCE,

m

. -

(62)

Tanglewood Music Shed Page 62 SEAT: 4G10 SEAT: 6G11 ,om. nsL m (7% m. 3,s m B. & na S(B m -7,s. BB. .I%. 1 0 R . a.

0 ,a0 w.0 IoD m 0 ?loo lWlD 3- - 3 10.0 S O 0 10.0 i a o ,100 iw.0 laor

T m m TW. m

. ..-

SEAT: 14K6 SEAT: 18K7

(63)

Page 63

Academy

of Music

Philadelphia, Pennsylvania,

U.S.A.

Number of seats Main floor 1295 First balcony 540 Second balcony 577 Third balcony 572 Total 2984

Receiver seat locations: (receiver height 1.2

m)

Main floor C l l l C7

N l l l T33

W113 W9

First balcony C113 A39

Second balcony El13 C35

Third balcony Dl13 C35

Comments

Beranek, L.L., "Music Acoustics and Architecture", John Wiley and Sons, pp. 165,

(64)

Academy of Music

(65)

Academy of Music h g e 65

I 1 P I

0.6

'

L _I

3

-

0.1 - RT

O1;5 ;2

5d0

10b0 2i00 &-0 O1;5 2;0

5d0

lob0 2 ~ 0 $0

-

'125 250 500 1000 2000 4000 '125

-

250 500 1000 2000 4000

(66)

Academy of Music Page 66

I n J

250 500 1WO 2CW 4WO 125 2 5 0 5 0 0 1 W O 2 0 0 0 4 0 0 0

Frequency,

Hz

(67)

Academy of Musk Page 67

RT

= -0.00229

*

DIST

+

1.36, s EDT = -0.0108

*

DIST

+

1.48,

s

(68)

Aeademy &Musk Page 68 em. lyg. ~ ~ MI. 3C1 6110. * ller ,,= -31s. IlP. m. a. -. *. -3- U01.

-SOD IOD SD sn mo so.& srnn m a ma . a 10.0 DD 5 ) ~ 10s s0.0 110.0 1310 150.0

Ih. mi Tnn rn SEAT: C l l l SEAT: W9 m. m. aa 2821. as. am ,en. lm. m. ,m. I t b , t b m. W . m m

0 . 0 0 oa 100 10.0 so0 3lDo ,or llao

l. mi T*n. m.

SEAT: Balcony C113 SEAT: Second Balcony El 13

Impulse

. ~ ~ . ~. ~~~~~ responses ~- from centre source position.

(69)

Page 69

Troy Music Hall

Troy, New York,

U.S.A.

Date of measurements: 30 April 1992

Temp: 20°C RH.: 26% Volume: 11,320 m3 Number of seats Main floor First balcony Second balcony Boxes Total 1255

Main floor Sec. C G108 Sec. D GI0

Sec. C 01018 Sec. K 1

Sec. 173 Sec. J 44

Fist balcony Sec. 0 30 Sec. Q 16

Second balcony Sec. C 18 Sec. D 12

Comments

(70)

Troy Music Hall Page 70

(71)

Troy Music Hall Page 71

. "*I ",

0.6

'

L

3

-

O1;5 2& 5& lob0 20b0 40b0 Oi25 2&

5d0

lob0 2 4 0 40b0

Frequency. Hz Frequency, Hz

-

'125 250 500 1000 2000 4000 '125

.

250 5W

I

1000 2000 4000

(72)

Troy Musk Hall Page 72

I, I

250 5Ml 1WO 2000 4000 125 250 5 W 1 ~ 2 0 0 0 4 0 0 0

Frequency, Hz

(73)

Troy Musk H.ll Page 73

10

D

5 - Barron theory

DISTANCE,

m

RT = 0.000710

*

DIST

+

2.69, s EDT = 0.00123

*

DIST

+

2.32, s

(74)

Troy Musk Hall Page 74 %.ma SEAT: G108 w . I ' , I

,

I . , . , . , . , . 0 0 9.0 50D m.0 m.0 7700 19.0 Wn T m "m

SEAT: Fist Balcony 030

L n

SEAT: 144

(75)

Page 75

Kennedy Center Concert Hall

Washington, D.C., U.S.A.

Number of seats Main floor 1638 Box tier 244 F i t balcony 391 Second Balcony 486 Total 2759

Main floor HllO H13

RllO R13

AAllO AA13

KKllO KK13

Box Tier Box 3 (middle seat)

F i t balcony B113 A311

Second balcony C113

Comments

Harris, C.M., "Acoustical Design of the John F. Kennedy Center for the

(76)

Kenwdy Center Concert Hall Page 76

(77)

Kennedy Center Concert Hall Page 77

01k5 2&

5d0

lob0 2&0 d 0 0lk5 2 0

&

lob0 2000 40iO

. .

(78)

Kennedy Center Concert Hall Page 78

1 0.4 0.2 0 0.6 - 0

Y

-

0.4

-

0.2 - . . _~. O

₆₅

254 500 loo0 2000 4000 125 250 5 0 0 1 o o 0 m 4 0 0 0 Frequency,

Hz

(79)

Kennedy Center Concert Hall Page 79

RT = 0.00124

*

DIST

+

1.96, s EDT = -0.0123

*

DIST

+

2.14, s

(80)

Kennedy Center Concert HaU

SEAT: RllO

M

SEAT: Fist Balcony B 113

SEAT: KK13

Trn. w

(81)

Manitoba Centennial Auditorium

Winnipeg, Manitoba, Canada

Date of measurements: 9 May 1992

Temp: 23OC RH.: 36% Volume: 28,751 m3

Number of seats Main floor 1522 Loges 106 First balcony 335 Second Balcony 341 Total 2304

Source positions: (from the centre of the leading edge of permanent stage, m)

Receiver seat locati011~: (receiver height 1.2 m)

Main floor 9 Row 12 22 Row 12

9 Row 20 22 Row 20

9 Row 27 22 Row 27

First Balcony 8 Row 3 22 Row 3

Second balcony 8 Row 3 22 Row 3

Comments

Music stands and chairs on stage during measurements, and a full orchestra shell was in place. A fore stage extension was in place over the fust three rows of seats. References

(82)

Manitoba Centennial Auditorium Page 82

(83)

Frequency, Hz Frequency. Hz

Frequency. Hz Frequency. Hz

(84)

Manitoba Centennial Auditorinm Page 84

(85)

DISTANCE, m

35 3 2.5 10 b-

n

2 - W 1.5 1

RT = 0.00382

*

DIST

+

2.30, s EDT = 0.00201

*

DIST

+

2.05, s G = -0.158

*

DIST

+

2.78, dB -

-

n ₀_nn n 0 n n w t P - - - ~ a - - - n

m-aF

n---%- . - - 0 - - 0 0 n n 0 0

-

10 5

%

0 ;

6

-5 -10

-

Barron theory ... ... .. ,. ,.., ,...-, .. .

.

_L.

.

. .

.

. .

.

. . .

.

. .

.

. . . 0

---.--=s----

_- 0 Y - - - 4 -

-

.@-*--a-

---

on

**&J-,*a**

--

El-

-

u- .

-

10 15 2-3 25 30

(86)

Manitoba Centennial Auditorium Page 84 Bm m m. am. m ,sg W. ,m. m. 9 t m a m . Ba 1101 Bm M SO. & SEAT: 22R12 SEAT: 9R27 Ym w

-

aa ,m 1m *& BIP & am BB

t I

IB(B tm m. ,m. D. m. m. mm M m ,m . m l l b m M tm all. & Tm%m TW. ID

SEAT: First Balcony 22R3 SEAT: Second Balcony 22R3

(87)

Page 87

Mechanics

Hall

Worcester, Massachusetts,

U.S.A.

Dare of measurements: 30 April 1993

Number of seats

Main floor 825

Balcony 575

Total 1400

Source positions: (from the centre of the leading edge of permanent stage,

m)

Main floor K7 K105

W

PI05

V7 Vl05

First Balcony D l 1 Dl05 BB73

Comments

No music stands or chairs on stage during measurements. Stage extended. References

Cavanaugh, W.J., "Preserving the Acoustics of Mechanics Hall", Technology and Conservation, pp. 24-28, Fall, 1980.

Howland, R., "Mechanics Hall, Meeting House for Music", Audio, pp. 64-67, January, 1993.

(88)

Mechanics Hall

(89)

Mechanics Hall Page 89

Frequency, Hz Frequency, Hz

'125 250 500 1000 2000 4000 '12.5

a

250 5 W 1000 2000 4000

Frequency, Hz Frequency. Hz

(90)

Mechanics Hall Page 90

0.4

-

0.2

-

_._-

. * .

Frequency, Hz

(91)

Mofh& Hnll Page 91

DISTANCE, m

RT = -0.00423

*

DIST

+

2.10, s

EDT = -0.00219

*

DIST

+

2.05, s G = -0.178

*

DIST

+

8.90, dB

(92)

SEAT: PI05 SEAT: V7 UU PY I

1

*a. . J 0 8 . dl. l . I I I . I . ~ . I . ~ . . $ 0 9.0 r s m.0 sao ,109 9 7- T a T . nr

SEAT: Balcony Dl05 SEAT: ~ a l c o n y Dl1

(93)

REFERENCES

Gade,

kc.,

Bradley, J.S., and Siebein, G.W., "Effects of Measurement Procedure and Equipment on Average Room Acoustic Measurements", J. Acoust. Soc. Am.,

Vol. 93, No. 4, pp. 2265, (1993).

Bradley. J.S., Gade, k c . , and Siebeii, G.W., "Comparison of Auditorium Acoustics Measurements as a Function of Location in Halls", J. Acoust. Soc. Am., Vol. 93,

No. 4, pp. 2265, (1993).

Siebein, G.W., Chiang, W-h, Madaras, G.S., Doddington, H.W., Schwab, W.K., and Bradley, J.S., "Effects of Measurement Equipment and Procedure on IACC

Measurements", J. Acoust. Soc. Am., Vol. 93, No. 4, pp. 2266, (1993).

Gade,

kc.,

and Bradley, J.S., "Acoustical Measurements on Stages of Nine U.S. Concert Halls", J. Acoust. Soc. Am., VoL 93, No. 4, pp. 2266, (1993).

Siebein, G.W., Chiang, W-h, Madaras, G.S., Doddington, H.W., Schwab, W.K., Bradley, J.S., and Gade,

kc.,

"Statistical Relations Among Architectural Features and Objective Acoustical Measurements of Concert Halls", J. Acoust Soc. Am.,

Vol. 93, No. 4, pp. 2266, (1993).

Bradley, J.S., "Comparisons of IACC and LF Measurements in Halls", J. Acoust Soc. Am., Vol. 93, No. 4, pp. 2283, (1993).

Measurement of the Reverberation time of Rooms with Reference to Other Acoustical Parameters, Draft International Standard, IS0 3382, (1994).

Schroeder, M.R, "New Method of Measuring Reverberation Time", J. Acoust Soc.

Am., Vol. 37, NO. 3, pp. 409-412 (196.5).

Kkiier, M., "A New Way of Measuring Lateral Energy Fractions", AppL Acoust Vol. 27, pp. 321-327 (1989).

Barron, M. and Marshal, k R , Spatial Impmion Due to Early Lateral Reflections in Concert Halls: The Development of a Physical Measure, J.Sound Vibr., Vol. 77,

No. 2, pp. 11-232 (1981).

Gade, A.C., Practical Aspects of Room Acoustic Measurements on Orchestra Platforms, Proc. of 14th International Congress on Acoustics, paper M-5, Beijing,

(1992).

Halliwell RE. and Bradley J.S., RAMSoft-11: A Computer Based Room Acoustics Measurement System, Presented at Baltimore meeting of ?he ASA, May 1991, J.

Acoust Soc. Am., Vol. 89, No. 4, Pt 4, p. 1897 (1991). . . - .

Bamon, M. and

Lee,

L.-J., Energy Relations in Concert Auditoria I, J. Acoust. Soc.

(94)

Page 94

Appendix Contents of Data Diskette

The data diskette is a 3.5 inch high density IBM PC format diskette. The 16 spreadsheet files are in Lotus 123 com~atible format.

(i.e.

they have names of the form *.%XI). Each file includes a complete set of of

RAM SO^^-11

measurements for one configuration of a hall. In each spreadsheet file, each row of data corresponds to all of the measured values for one source&xeiver combination. The first two c~lumns give the source and receiver locations. Subsequent columns give octave band values of the various measures. Hall

averages and standard deviations about these averages are given in rows at the bottom of each spreadsheet.

The 16 files have the following names and contents.

Akron, Ohio; E.J. Thomas Performing Arts Hall (complete hall)

Akron (2nd balcony excluded)

Akron (1st and 2nd balcony excluded)

Baltimore, Maryland; Joseph Meyerhoff Symphony Hall

Boston, Massachusetts; Boston Symphony Hall

Brandon, Manitoba; Western Manitoba Centennial Auditorium Buffalo, New York; Kleinhans Music Hall

Cleveland, Ohio; Severance Hall

Detroit, Michigan; Orchestra Hall

Lenox, Massachusetts; Tanglewood Music Shed Philadelphia, Pennsylvania; Academy of Music Troy, New York; Troy Music Hall

Washington, D.C.; Kennedy Center Concert Hall

Winnipeg, Manitoba; Manitoba Centennial Auditorium Worcester, Massachusetts; Mechanics Hall

Data from 13 North American Concert Halls

NRC Publications Archive

Archives des publications du CNRC

Data from

13

North American Concert

Halls

Acknowledgments

Table

of Contents

.

...

.

...

...

.

...

.

...

...

...

...

...

...

...

...

...

...

...

...

...

three

All

free

a

LF

1 d

.

IACC

are

01T)

(EDT)

IACCQ,

STQ,

E

J.

Thomas Performing Arts Hall

Akron, Ohio, U.S.A.

a

a

-

-

*&&kX

p%@>2:w&c*%3%*$

."s"~**@$~*~~'?~q>$*~~~~~~@~?"":y~*~:":

g

xyi

-<.**

P

*\+

d o

-

Y

-

;w

*

+

*

+

Joseph Meyerhoff Symphony

Hall

Baltimore, Maryland, U.S.A.

-

'

5d0

oh

*

+

*

+

_*&&kX

p%@>2:w&c%3%$

."s"~**@$~~~'?~q>$~~~~~~@~?"":y~*~:":

_;w

_e

; < : ; ~ j ~ > ~ # ; ~ ~ ~ ; ; ~ g & & ~ ~ ~ g ~ s s w ~*

..-..----.