Martin Lisa, Jens Holger Rindel and Anders Christian Gade
Forum Acusticum: 2005 Conference
Abstract
The Roman theatre follows a natural evolution from the Greek theatre combining the acting area and the seating area into a single structure. Modifications of stage, orchestra and seating area have resulted in a considerable improvement in the quality of the acoustics. As a part of the ERATO project, the acoustics in Roman theatres and Odea (roofed theatres) have been recreated through computer simulations using the Odeon software. Computer models of five Roman theatres have been created based on data from archaeologists, architects and measurements in situ. The theatres have been modelled in their present state and as they presumably were built in the Roman era; the reconstructed parts of acoustical interest are the stage wall and top colonnade in the open-air theatres and the roof and windows in the Odea. The irregular absorption distribution in these rooms makes them challenging for acoustical simulations differing from traditional concert halls. Auralisation examples will be presented using fragments of Roman music recorded in the project.
Introduction: The simulations of the acoustics of ancient roman theatres presented in this paper are part of a larger project named ERATO (identification Evaluation and Revival of the Acoustical heritage of ancient Theatres and Odea) part of the European Commission Fifth Framework INCO – MED programme. One of the objectives of this project is to study the acoustical properties of ancient theatres and to discuss their ‘excellent’ acoustics as they generally are described. This task has earlier been carried out by different authors, most notably by F. Canac, who proposed canonical formulas derived from geometrical observations. With the advantage of modern computers and room acoustic simulation software, today we can get further information about theatres by modelling them in a virtual environment.
How did the ancient Roman Theatres sound?
Martin Lisa, Jens Holger Rindel and Anders Christian Gade
Forum Acusticum: 2005 Conference
Abstract
The Roman theatre follows a natural evolution from the Greek theatre combining the acting area and the seating area into a single structure. Modifications of stage, orchestra and seating area have resulted in a considerable improvement in the quality of the acoustics. As a part of the ERATO project, the acoustics in Roman theatres and Odea (roofed theatres) have been recreated through computer simulations using the Odeon software. Computer models of five Roman theatres have been created based on data from archaeologists, architects and measurements in situ. The theatres have been modelled in their present state and as they presumably were built in the Roman era; the reconstructed parts of acoustical interest are the stage wall and top colonnade in the open-air theatres and the roof and windows in the Odea. The irregular absorption distribution in these rooms makes them challenging for acoustical simulations differing from traditional concert halls. Auralisation examples will be presented using fragments of Roman music recorded in the project.
Introduction: The simulations of the acoustics of ancient roman theatres presented in this paper are part of a larger project named ERATO (identification Evaluation and Revival of the Acoustical heritage of ancient Theatres and Odea) part of the European Commission Fifth Framework INCO – MED programme. One of the objectives of this project is to study the acoustical properties of ancient theatres and to discuss their ‘excellent’ acoustics as they generally are described. This task has earlier been carried out by different authors, most notably by F. Canac, who proposed canonical formulas derived from geometrical observations. With the advantage of modern computers and room acoustic simulation software, today we can get further information about theatres by modelling them in a virtual environment.
Click here to read this article from Denmark Technical University
See also: The ERATO project and its contribution to our understanding of the acoustics of ancient Greek and Roman theatres
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