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dc.rights.licenseRestricted to current Rensselaer faculty, staff and students. Access inquiries may be directed to the Rensselaer Libraries.
dc.contributorBraasch, Jonas
dc.contributorKalsher, Michael J.
dc.contributorKrueger, Ted (Theodore Edward), 1954-
dc.contributorOliveros, Pauline, 1932-
dc.contributorScarton, Henry A.
dc.contributorXiang, Ning
dc.contributor.authorGuthrie, Anne
dc.date.accessioned2021-11-03T08:10:16Z
dc.date.available2021-11-03T08:10:16Z
dc.date.created2014-09-11T11:12:35Z
dc.date.issued2014-05
dc.identifier.urihttps://hdl.handle.net/20.500.13015/1125
dc.descriptionMay 2014
dc.descriptionSchool of Architecture
dc.description.abstractIn this research, a method was outlined and tested for the use of 3D Ambisonic technology to inform stage acoustics research and design. Stage acoustics for musicians as a field has yet to benefit from recent advancements in auralization and spatial acoustic analysis. This research attempts to address common issues in stage acoustics: subjective requirements for performers in relation to feelings of support, quality of sound, and ease of ensemble playing in relation to measurable, objective characteristics that can be used to design better stage enclosures. While these issues have been addressed in previous work, this research attempts to use technological advancements to improve the resolution and realism of the testing and analysis procedures. Advancements include measurement of spatial impulse responses using a spherical microphone array, higher-order ambisonic encoding and playback for real-time performer auralization, high-resolution spatial beamforming for analysis of onstage impulse responses, and multidimensional scaling procedures to determine subjective musician preferences. The methodology for implementing these technologies into stage acoustics research is outlined in this document and initial observations regarding implications for stage enclosure design are proposed. This research provides a robust method for measuring and analyzing performer experiences on multiple stages without the costly and time-intensive process of physically surveying orchestras on different stages, with increased repeatability while maintaining a high level of immersive realism and spatial resolution. Along with implications for physical design, this method provides possibilities for virtual teaching and rehearsal, parametric modeling and co-located performance.
dc.language.isoENG
dc.publisherRensselaer Polytechnic Institute, Troy, NY
dc.relation.ispartofRensselaer Theses and Dissertations Online Collection
dc.subjectArchitectural acoustics
dc.titleStage acoustics for musicians : a multidimensional approach using 3D ambisonic technology
dc.typeElectronic thesis
dc.typeThesis
dc.digitool.pid172717
dc.digitool.pid172718
dc.digitool.pid172719
dc.rights.holderThis electronic version is a licensed copy owned by Rensselaer Polytechnic Institute, Troy, NY. Copyright of original work retained by author.
dc.description.degreePhD
dc.relation.departmentSchool of Architecture


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