DESIGN FOR MUSIC
Sir,-It would seem that Mr Patience has quoted my article out of context. I did state that the musicians were making controlled sounds-namely, music, not just sounds either within or without the category’ of noise. Does not music consist of sounds of organised or controlled relationship? I am sure Mr Patience will agree that one must be at times implicit rather than explicit, when the subject of auditorium acoustics is condensed into some 1600 words, It would have been interesting, had space permitted, to discuss the resonance theory as applied to the basilar membrane of the inner ear, where mechanics and physics cease and the miracle of hearing begins. But then, Sir, had I done so, my head by now might have lain beside some authoritative chopping block, instead of taking your correspondent to task for splitting hairs over a definition. I am not favourably disposed to the multi-purpose concert hall. The location and density of our population, in some localitiés at least, demands that our flat floored, general purpose auditoriums must serve, for the time being, as concert halls, However, a flat floor can be planned in two or three levels or steps, and still satisfy functional requirements and give improved sight lines. Good sight lines are good sound lines in terms of direct sound only. It is the overall acoustical design which determines the quality of music we hear, namely, the direct sound plus the reflected reinforcement; and this, dependent on the ability of the designer, may result in good, bad or indifferent acoustics. I fully endorse Mr Patience’s suggestion that a number of good concert halls are essential. In New Zealand, where good music and theatre are appreciated, it is surprising to say the least, that as yet no active movement has arisen or no authoritative lead been given towards the establishment of such cultural facilities, Perhaps some day authoritative steps will be taken, and the same legislative facilities afforded to the arts as have been accorded horse racing and betting in the past. Pleasure is our oldest and rarest heritage, and given the proper environment it is the very basis of our cultural development.
R. GILLESPIE
MELDRUM
: (Wellington).
Permanent link to this item
Hononga pūmau ki tēnei tūemi
https://paperspast.natlib.govt.nz/periodicals/NZLIST19570719.2.19.1
Bibliographic details
Ngā taipitopito pukapuka
New Zealand Listener, Volume 37, Issue 936, 19 July 1957, Page 11
Word count
Tapeke kupu
365DESIGN FOR MUSIC New Zealand Listener, Volume 37, Issue 936, 19 July 1957, Page 11
Using this item
Te whakamahi i tēnei tūemi
Material in this publication is protected by copyright.
Are Media Limited has granted permission to the National Library of New Zealand Te Puna Mātauranga o Aotearoa to develop and maintain this content online. You can search, browse, print and download for research and personal study only. Permission must be obtained from Are Media Limited for any other use.
Copyright in the work University Entrance by Janet Frame (credited as J.F., 22 March 1946, page 18), is owned by the Janet Frame Literary Trust. The National Library has been granted permission to digitise this article and make it available online as part of this digitised version of the New Zealand Listener. You can search, browse, and print this article for research and personal study only. Permission must be obtained from the Janet Frame Literary Trust for any other use.
Copyright in the Denis Glover serial Hot Water Sailor published in 1959 is owned by Pia Glover. The National Library has been granted permission to digitise this serial and make it available online as part of this digitised version of the Listener. You can search, browse, and print this serial for research and personal study only. Permission must be obtained from Pia Glover for any other use.
Log in