Science of the sound

Between the 1895 and 1915 Wallace Clement Sabine, Hollis University professor of Mathematics and Philosophy all’ University of Harvard, threw the foundations of a new science, l’ architectonic acoustics. Before Sabine, in the architectonic planning it was limited to us to imitate knows them to them in which l’ acoustic good era. Moreover they were in vigor a series of practical superstizion, like that to stretch of the useless threads in the high parts of churches or knows them from concert. L’ architectonic acoustics were born because a remarkable man found itself of forehead to a situation that demanded a solution: the problem consisted in the fact that was nearly impossible to understand the lecturers in knows it of the Fogg Art Museum, that it had been hardly opened. In 1895, l’ University of Harvard churches to Sabine to find a remedy. Sabine approached the problems dell’ architectonic acoustics fortified of an acute and indagatrice mind, a good ear, a chronometer, an organ to canes with a compressed air tank like sonorous source. It identified the reason for which the speeches in know it of the Fogg Art Museum were inintelligibili: the sound too much persisted over a long time span (that is the riverberazion was excessive). Sabine reduced the riverberazion covering of felt some walls. After that, it wrote, knows it divenne ” not excellent, but completely apt to the scope”.
Sabine was the first one to define the time of riverberazione, a parameter a lot important in the study dell’ acoustics of know them from concert. According to the definition of Sabine, this was the time employed from a reverberating sound in order to become hardly audible. Many years after, when divenne possible to execute electronic measurements of the level of sonorous intensity, the time of riverberazion came defined like the time employed from a sound, after its extinction, in order to decrease of 60 dB of level of intensity; this is the accepted definition today. Various musics and theatres demand different times of riverberazione. One of the greater problems dell’ architectonic acoustics always have been that one to obtain of the accurate calculations of the times of riverberazione. Sabine not only defined the time of riverberazion, but it invented also a useful way, even if not completely precise, in order according to calculate it the volume and of the fraction of the sound incident reflected from the walls and the other superficial ones.
The job of Sabine was arduous. Working in a room basement with concrete walls and fire-bricks it succeeded to measure the coefficients of absorption of many various materials. In other places, Sabine passed entire nights waiting for of the sufficiently silent moments for being able to execute its measurements. It studied also the transmission of the sound and the way in order to isolate the rooms acoustic, a felt necessity a lot in the conservatives. Sabine was above all dedicated to improve l’ acoustics of know planned them from architects who were totally all’ dark of the necessities of the listeners or that simply they were not cured any: a defect still much municipality between the architects. But Sabine planned also one knows it, the Symphony Hall di Boston, constructed in 1900. Still today the Symphony Hall is one of the best ones knows them from concert of the world.
The history of Wallace Sabine is the history of the triumph of a new scientific discipline.
Recently they have been made ulterior progresses in the theory of the time of riverberazione. For many years the ” was known that; corretto” approach was given from un’ integral equation much complicating; such equation is essentially irresolubile, also to the computer. And. N. Gilbert has recently shown that using un’ other integral equation era in a position to obtaining turned out valid with a iterativo method. Gilbert has thus obtained of the result ” corretti” for several forms sluices. The calculations and the measures of physical amounts which the time of interesting riverberazione are a lot. In 1967, Manfred Schroeder and Bishnu Atal they showed as two loudspeakers can produce a placed sonorous source externally appearing to the two loudspeakers. In 1969, P. Damaske and V. Mellert they used this effect in order to produce to a system stereo ” perfetto”. The sounds came collected from two auditivi culverts of a head fortified feint of two auricular pavilions. It marks them came then leaked, elaborated and sent to two loudspeakers situated in an anechoic chamber.
The sounds emitted from the two loudspeakers could exactly recreate in the auditivi culverts of the head feint the same sollicitations of sonorous pressure that had been taken when the head was exposed to the recording from the alive one. Schroeder and its two collaborators, D. Gottlob and K.F. Siebrasse, confronted more than twenty know them from concert European. They succeeded to obtain a recording of sinfonia the Jupiter di executed Mozart dall’ orchestra of the BBC in an anechoic chamber. Schroeder, Gottlob and Siebrasse played this recording using several loudspeakers placed on the stages of the various ones know taken them in consideration. In ciascuna it knows recorded it what the head feint felt when was seated in various positions and with these recordings they could then recreate in to anechoic chamber exactly what the head feint had felt in the several ones knows them.

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