Annotated Bibliography #4
Spitzer, John, and Neal Zaslaw. “The Birth of the Orchestra : History of an Institution, 1650-1815: History … – Music History and Literature San Francisco Conservatory of Music John Spitzer Chair, Neal Zaslaw Professor of Music Cornell University – Google Books.” Accessed February 25, 2016. https://books.google.com/books?id=bur3UFIf-ywC&pg=PA287&lpg=PA287&dq=how+are+orchestra+rooms+built&source=bl&ots=OEssD2vMsZ&sig=mY_Nf_W1L2kQFoQn3M8KtHMPC_k&hl=en&sa=X&ved=0ahUKEwjO5c6HiJLLAhVIOCYKHYjhBgMQ6AEINDAE#v=onepage&q&f=false.
In the book “The Birth of the Orchestra” by John Spitzer and Neal Zaslaw, they’re first chapter sets a history of Orchestra. It starts off by saying a story about Orpheus, and how Lully played a song on his violin fooling the King of the time into thinking he was actually playing. It goes on talking about how there were people in the back of a current actually playing the violin instead of him. However, what I got out of the first few pages of the chapter is where people played music for the King. At those times the King didn’t ask for Pop music, or country music. The royal family asked for classical music, but at the time there were only few instruments that played for them. Over time more and more instruments started to emerge, and slowly it wasn’t just a violin playing by itself it was a symphony. With such huge amounts of instruments playing together and create harmonization they had to have built a place to place all of these instruments and people. In reading how the orchestra was created and started it made me realize how important it must have been to build a place that can house all those people to perform as well as watch. Another aspect to consider into building the place is how the acoustics would sound from far away and close upfront.
Annotated Bibliography #5
Asselineau, Marc. “Building Acoustics – Marc Asselineau – Google Books.” Accessed February 25, 2016. https://books.google.com/books?id=jHgZBwAAQBAJ&pg=PA188&dq=how+are+orchestra+rooms+built+building&hl=en&sa=X&ved=0ahUKEwj7-5ufipLLAhWCJiYKHbygCmwQ6AEIHTAA#v=onepage&q=how%20are%20orchestra%20rooms%20built%20building&f=false.
In the following book “Building Acoustics” by Marc Asselineau it goes very in depth on how acoustics work in buildings, how the sound is processed, and basic rules of how to incorporate music within a building. Not only does it show you how to make a single building for a whole orchestra, but it shows you how to make music sound better in other places as well such as offices, theaters, coffee houses, open spaces, hotels, and even hospitals. This book is a good go to book in understanding the basic needs for making music come more alive. It was written in order to help architectures build these specific interiors. A place of music is something that can’t just have four walls and a roof. It has to be spacious, but also be able to let the music reach audiences from far away places. Another high concern is making sure the music stays within the room in order for it to not disturb anyone from outside the building. This book has a lot of tips and tools in helping me better understand the interior design of a symphony orchestra, as well as helping me point those few designs out.
Annotated Bibliography #6
Schottenbauer, Michele. “How to Build a Tiny Concert Hall 3: Symphony Orchestra Trailer Model – YouTube.” Accessed February 25, 2016. https://www.youtube.com/watch?v=VrA5mK06Ggw.
Michele Schottenbauer uploaded a video describing how to build a tiny music hall for a symphony orchestra. According to the video the smallest an orchestra can be is 52 musicians. This video has really helped in clarifying not only how important space is for the musicians but also the audience. In order to build the tiny concert hall double doors are required for the audience, something I never thought to think about. Double doors are required in case of an emergency and they all have to escape. It makes sense to have a door big enough for a crowd of that size to get out quickly and efficiently. In making a tiny concert hall a fold-down stage is also needed for the musicians. The fold-down stage is the real secret into how so many instruments and people fit into a small 8-by-20 foot space. This video is very useful in better understanding the amount of time and commitment needed into making just a tiny concert hall. A large Symphony orchestra such as Atlanta’s must have taken even more vital time and information in making.
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