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The footmen waiting in the hall called for the carriages as if at the door of a theatre or concert hall.
The halls of the dollar concerts were deserted and the twenty-five-cent concert hall was overflowing with music lovers.
The libraries, art galleries, concert halls, and theaters were all open to the people.
This memorial was to consist of a large music school, a concert hall and home for opera.
By presenting concerts in a less prescribed atmosphere than the time-honoured concert hall, we can expose listeners to new experiences in a more comfortable setting.
The 'sampling' approach to the very act of listening and 'consuming' sonic art has challenged traditional concert hall presentation.
Modern audiences do know how to listen differently, but presented with a tradition-laden concert hall, that openness to new sounds disappears.
Seating arrangement in the performance space or concert hall (seated audience), resulting in the definitive fixing of the four directions (front/ back-left/right).
The traditional linear layout of the concert hall separates 'producers' from 'consumers' and sets them in opposition.
Methods exist for creating photorealistic computer graphics as do methods to simulate the concert hall acoustics.
The conductor and the audience hear the music rendered according to the acoustics of the virtual concert hall, creating a lifelike experience.
But, if the concert hall and musicians were not real, they could play any time you wished.
The public sphere also included institutions such as coffeehouses, salons, museums and, in the case of music, the public concert hall and opera house.
Chapters 4 and 5 specifically address musical spaces, with the former providing insight on factors that need to be considered in concert hall design.
With audiovisual rendering, lighting and acoustics of a modelled concert hall can be experienced early in the design stage of the building.
Indeed, a judiciously chosen orchestra afforded a pleasure not to be found on just any day in the concert hall.
The idea was to turn the traditional layout of the concert hall on its head.
One can imagine the chromatic scale like a symmetry in the pitch domain, similar to the lamps in the concert hall.
I call them sociocultural sound narratives, and as listeners we bring these with us into the concert hall, informing any listening experience.
