DESIGN FOR MUSIC

New Zealand Listener, Volume 37, Issue 938, 2 August 1957, Page 11

DESIGN FOR MUSIC

Sir,-Most of the points raised by your correspondents, W. N. Sheat and G. I. Rich, have, I think, been fully covered in my replies to your previous correspondents, Raymond Boyce and M. B. Patience. Therefore, I have no intention, with the limited space at my disposal, to enter into correspondence with regard to the "pros" and "cons" of the stage design of the auditorium in question. If I did so I would have to be implicit rather than explicit, and this it would seem leads to confusion. What your correspondents should realise, however, is that this auditorium was designed as a town hall, and not as a theatre. The latter is usually designed for the specific purpose, whereas a town hall must cater for the many and varied functions associated with a community. Some-of these functions take priority over even theatrical or orchestral performances. It was never intended, to my knowledge, that a_ theatrical performance should take place with the orchestral setting, or even a portion of it, occupying the stage. This setting can readily be removed and a clear stage provided for a theatrical performance. As I have already stated, I was in no way responsible for the planning or for the acoustical design of the Town Hall. My article was primarily written to give audience members an idea of the problems associated with acoustical design as applied to music or theatre. However, like the three basic "R’s" in education, we have in the field of auditorium acoustics three basic "A’s" which make for good theatre, namely, actor, audience and auditorium. Good theatre is based on the skill and experience of the actor, the appreciation of the audience, and the skill of the auditorium designer. May I conclude, Sir, with a further thought. What is not always appreciated in acoustical design is the fact that optimum reverberation times can be calculated on paper, and the materials to give such good theoretical conditions embodied in an auditorium. However, unless these materials are placed in their correct acoustical position, one is sometimes mistaken in the belief, like the legendary pussy cats in Tchaikovski’s Nutcracker Suite. that all is well in the garden and the flowers are dancing, when in realitv they are not.

R. GILLESPIE

MELDRUM

(Wellington).