Special Issue on Musical Instruments: Acoustics and Vibration

The sound characteristics of musical instruments have been constantly growing in importance. Consequently, several congresses, workshops, and conferences have been organized in the last ten years. The studies on musical instruments, their mechanical behavior, sound emission, and characteristics started thousands of years ago, and among the physicists and mathematicians that addressed this matter, we should at least remember Leonardo da Vinci, with his experimental water organ, and Ernst Chladni, who discovered the nodal patterns on rigid surfaces, such as soundboards. The growing awareness of our intangible cultural heritage and the need to better understand our roots in the field of music have contributed to increasing the efforts to extend our knowledge in this field, defining new physical parameters, extending the analysis to other musical instruments, and developing new methods to synthesize sound from musical instruments using a simple keyboard. These motivations led us to the proposal of a special issue called \u201cMusical Instruments: Acoustics and Vibration\u201d since we believe in the importance of musical acoustics within modern acoustics studies. In total, 13 papers were submitted and 8 of them were published, with an acceptance rate of 61.5%. Among all the papers published, one of them was classified as a review paper, while the rest were classified as research papers. According to the number of papers submitted, and the specificity of the musical acoustics branch within acoustics, it can be affirmed that this is a trendy topic in the scientific and academic community and this special issue on \u201cMusical Instruments: Acoustics and Vibration\u201c aims to be a future reference for the research that is to be developed in the next few years

Acoustics of the former teatro "la fenice" in Venice

The acoustic characteristics of the former "La Fenice" theater have been analyzed. Binaural measurements of the impulse responses were performed at a large number of measuring points within the hall. Following the recent ISO standard 3382 [1], many mono and binaural acoustical parameters were calculated from the impulse responses, such as reverberation time, clarity, center time, strength, initial time delay gap, interaural cross correlation, and others. Finally, Ando's preference maps were developed, taking into account two different kinds of musical signals. The measurements underlined the peculiar acoustical behavior of the theater, characterized by a greater initial decay of the reverberant tail and a subsequent reverberation that allowed a remarkable fusion of the sound and sustain to the musicians

Acoustic Reconstruction of Eszterh\ue1za Opera House Following New Archival Research

The Eszterh\ue1za Opera House was a theatre built by the will of the Hungarian Prince Nikolaus Esterh\ue1zy in the second half of the 18th century that had to compete in greatness and grandeur against Austrian Empire. The composer that inextricably linked his name to this theatre was Haydn that served the prince and composed pieces for him for many years. The Opera House disappeared from the palace complex maps around 1865 and was destroyed permanently during the Second World War. This study aims to reconstruct the original shape and materials of the theatre, thanks to the documents founded by researchers in the library of the Esterh\ue1zy family at Forchtenstein, the Hungarian National Library, and analyze its acoustic behavior. With the 3D model of the theatre, acoustic simulations were performed using the architectural acoustic software Ramsete to understand its acoustical characteristics and if the architecture of the Eszterh\ue1za Opera House could favor the Prince\u2019s listening. The obtained results show that the union between the large volume of the theatre and the reflective materials makes the Opera House a reverberant space. The acoustic parameters are considered acoustically favorable both for the music and for the speech transmission too. Moreover, the results confirm that the geometry and the shape of the Eszterh\ue1za Opera House favored the Prince\u2019s view and listening, amplifying onstage voices and focusing the sound into his bo

Acoustic Characterization and Quality Assessment of Cremona’s Ponchielli Theater

The Ponchielli theater of Cremona was built in 1808 after a fire destroyed the old wooden structure. The interior, the architecture and the shape of the plan layout are reminiscent of the Teatro alla Scala, Milan, a masterpiece by the architect Piermarini, albeit on a smaller scale. The four orders of balconies crowned by the top gallery are typical features of a 19th Century Italian Opera theater. Acoustic measurements have been undertaken across the stalls and in some selected boxes according to ISO 3382. The main acoustic parameters resulting from the measurements have been used for the acoustic calibration of a 3D model representing the Ponchielli theater. The calibration has been used to compare different scenarios involving the acoustic response of the main hall at 50% and 100% occupancy. The outcomes indicate that no significant change can be detected when the seats are provided with robust upholstery, which can be considered a positive result, especially for the actors who are not forced to change their effort between rehearsal and live performance. In order to contextualize the measured values in relation to the optimal ones, a comparison with other Italian Opera theaters provided with similar architectural characteristics has been carried out. Overall, the findings indicate that the acoustics of the Ponchielli theater are suitable for both music and speech in line with the other selected theaters, as these places were mainly created for multifunctional purposes in the 19th Century

The Only Architectural Testimony of an 18th Century Italian Gordonia-Style Miniature Theatre: An Acoustic Survey of the Monte Castello di Vibio Theatre

The acoustic characteristics and spatial features of the world’s only surviving Italianate Gordonia-style miniature theatre, one of the smallest theatres in the world, have inspired the author to analyse the acoustic behaviour of the Monte Castello di Vibio theatre, also called “Teatro della Concordia”. In this paper, the geometric and architectural features of this historical and unique performing art space were first reproduced, considering that these features are essential factors affecting acoustic characteristics. Subsequently, the acoustic measurements were taken throughout the stall and inside some selected boxes, and their main parameters were acoustically characterised according to ISO 3382-1. Lastly, the main acoustic parameters of the Monte Castello di Vibio theatre were compared to those of the 1763 theatre in Bologna, which is also a miniature theatre of similar size. The aim is to explore the main influences on the acoustic parameters of miniature theatres, and the results show that the plan layout of the theatre and interior decoration are the main factors influencing the acoustic characteristics rather than volume. Preserving the acoustic features of this unique heritage building is also seen as one of the goals of this paper

Measurements of Room Acoustic and Thermo-Hygrometric Parameters—A Case Study

Equipment, sound sources, operators, microphone placement, calculation techniques, and thermal–humidity measurement conditions all have an impact on the measurement of impulse responses when several channels are present. However, the thermal–humidity variable, which is a significant component of these factors impacting the assessment of acoustic characteristics, is commonly overlooked in research. The effects of altering temperature, relative humidity, and air velocity on acoustic parameters are investigated in this paper through experimental activities carried out in an experimental room. The patterns of fluctuation of a range of room acoustic characteristics are examined, data are acquired, and statistical analyses based on R (language and environment for statistical computing and graphics) are generated in order to ascertain the relationship between the variation of acoustic parameters and the variation of thermo-hygrometric parameters. Finally, a statistical analysis reveals relationships between thermal and hygrometric variables and interior acoustic characteristics

Building performance monitoring: From in-situ measurement to regression-based approaches

Simple and robust data analysis methodologies are crucial to learn insights from measured data and reduce the performance gap in building stock. For this reason, continuous performance monitoring should become a more diffuse practice in order to improve our design and operation strategies for the future. The research presented aims to highlight potential links between experimental approaches for test-facilities and methods and tools used for continuous performance monitoring, at the state of the art. In particular, we explore the relation between ISO 9869:2014 method for in-situ measurement of thermal transmittance (U) and regression-based monitoring approaches, such as co-heating test and energy signature, for heat load coefficient (HLC) and solar aperture (gA) estimation. In particular, we highlight the robustness and scalability of these monitoring techniques, considering relevant issues in current integrated engineer design perspective. These issues include, among others, the necessity of limiting the number of a sensors to be installed in buildings, the possibility of employing both experimental and real operation data and, finally, the possibility to automate and perform monitoring at multiple scales, from single components, to individual buildings, to building stock and cities

Acoustic quality of auditoria: Relationship between acoustical energy parameters and subjective perception

The acoustic design auditoria is founded on objective acoustic parameters determined on the basis of the computed or measured impulse response. Such objective parameters are related on the average response of the human ear to transient sounds, without considering the subjective perception of the individual, which, in turn, is related also to social and education aspects. The aim of this study is to investigate the relationship between individual sound perceptions and energy parameters. In detail, a questionnaire has been submitted to a sample of people listening to tracks of different musical genres. The questionnaire has been conceived to come up with a classification model for the audience allowing to express the listener's experience according to different indicators, such as overall acoustic quality and overall acoustic experience. Results of this experiment are analyzed by means of Random Forest non-parametric model belonging to the data mining algorithms. The final purpose of the study is to define which physical and acoustical characteristics are the most suitable to represent the subjective perceptions of the listeners

Static and dynamic thermal properties of construction components: A comparison in idealized and experimental conditions using lumped parameter models

The U values assumptions for construction components represent a significant source of uncertainty when estimating the energy performance of buildings. This uncertainty affects decision-making processes in multiple ways, from policy making to design of new and refurbished buildings. The correct estimation of both static (e.g. thermal transmittance) and dynamic thermal properties is crucial for quality assurance in building performance assessment. Further, while today many sophisticated simulators are available for building performance modelling, lumped parameter models can help reducing computational time for parametric simulation or optimization and enable inverse estimation of lumped thermal characteristics. A lumped parameter approach for construction components is proposed, for example, by the ISO 52016-1:2017 norm, introducing simplifications that are intrinsically dependent on component's stratigraphy. This approach complements ISO 13786:2017 norm method, which is limited to steady-state periodic temperature and heat flux boundary conditions. In this research we consider these two different approaches, detailed and lumped modelling, comparing them first in idealized conditions and then in experimental conditions to analyse the robustness of methods

A Modular, Low Latency, A2B-based Architecture for Distributed Multichannel Full-Digital Audio Systems

Despite the increasing demand for multichannel audio systems, existing solutions are still mainly analog or audio-over-IP based, leading to well-known limitations: bulky wiring, high latency (0.5-2 ms), and expensive devices for protocol stack management. This paper presents a cost-effective, low latency, full-digital solution that overcomes all the previously mentioned problems. The proposed architecture is based on the new Automotive Audio Bus (A2B) protocol. It guarantees deterministic latency of 2 samples, 32 downstream/upstream channels over a single Unshielded Twisted Pair (UTP) cable and phase-aligned signals. A single A2B chip is required for each node, reducing dramatically the system cost. The developed architecture is composed by a main board and an A2B network. The main board handles up to 64 channels, and it converts standard protocols usually employed for audio signal delivery, such as AES10, AVB and AES67, into A2B streams and vice versa. The A2B network can include a series of devices, for instance power amplifiers, codecs, DSPs, and transducers. There are many application examples including, but not limited to, transducer arrays (e.g., microphone, loudspeaker, accelerometer arrays), audio distribution in meeting rooms, Wave Field Synthesis (WFS), Ambisonics immersive audio systems and Active Noise Control (ANC). A modular and portable WFS system was developed employing the above-described architecture. It is based on eight channels soundbars, which can be daisy-chained in reconfigurable geometries and featuring up to 192 channels