Abstract and Keywords
This chapter shifts perspective from the history of architectural acoustics (as a branch of physics) to the history of architecture and practices of listening from around 1780 to 1830. In this period, operas, concerts, and spoken theater pieces, traditionally performed in the same venue, were increasingly regarded as separate genres, each related to a specific sonic reverberation time. As this chapter illustrates using acoustic data from major venues, this separation corresponded with ever-diverging concepts of acoustic design and the acoustic properties of new buildings. The shift occurred, first, because of the emergence of a bourgeois theater and music culture and, second, due to a fundamental epistemic shift in acoustic theory when sound reflection began to be thought of as a phenomenon related to energy, time, and building materials. The audience was conceived of as a group of genre-specific listening experts who paid attention to sound dying away over time.
Access to the complete content on Oxford Handbooks Online requires a subscription or purchase. Public users are able to search the site and view the abstracts and keywords for each book and chapter without a subscription.
If you have purchased a print title that contains an access token, please see the token for information about how to register your code.