Architectural Acoustics

1. Introduction.- 2. Short Historical Review for Acoustics in a Performing Space.- 3. Physical Properties of Source Signals and Sound Fields in a Room.- 3.1. Analyses of Source Signals.- 3.2. Autocorrelation Function of Piano Signal with Varying Performing Style.- 3.3. Sound Transmission from a Point Source to Binaural Entrances.- 3.4. Physical Factors of Sound Field.- 3.5. Simulation of Sound Field.- 4. Subjective Preference as an Overall Impression of the Sound Field.- 4.1. Subjective Preference of the Simple Sound Field.- 4.2. Orthogonal Properties of Acoustic Factors.- 4.3. Optimum Design Objectives.- 4.4. Theory of Calculating Scale Values of Subjective Preference.- 4.5. Examination of Subjective Preference in an Existing Hall.- 5. Human Hearing System.- 5.1. Physical Systems of Human Ears.- 5.2. Influence of Electro-Physiological Responses from Auditory Pathways and Human Cerebral Hemispheres Relating to Subjective Preference.- 5.3. Influence of the Continuous Brain Wave (CBW) onSubjective Preference.- 5.4. Auditory-Brain System: A Proposed Model.- 6. Important Subjective Attributes for the Sound Field, Based on the Model.- 6.1. Subjective Diffuseness and ASW in Relation to the IACC and/or theWIACC.- 6.2. Subjective Attributes of the Sound Fields with a Single Reflection in Relation to the ACF of the Source Signals.- 6.3. Loudness in Relation to the Effective Duration of the ACF.- 6.4. Speech Intelligibility and Clarity in Relation to the Temporal Factor (TF) and the IACC.- 7. Subjective Effects of Sound Field on Performers.- 7.1. Subjective Preference of Performer for Sound Field on the Stage.- 7.2. Influence of the Music Program Selection on Performance.- 7.3. Selection of the Performing Position for Maximizing Listener's Preference.- 8. Passive Control of Sound Field by Design.- 8.1. Control of the IACC by Side Walls.- 8.2. Control of the IACC by Ceilings.- 8.3. Influence of Diffusers on Walls and Ceilings.- 8.4. Reflectors near the Ceiling.- 8.5. Floor