Ando establishes a theory of subjective preference of the sound field in a concert hall, based on preference theory with a model of human auditory- brain system. The model uses the autocorrelation function and the interaural crosscorrelation function for signals arriving at two ear entrances and considers the specialization of human cerebral hemispheres. The theory may be applied to describe primary sensations such as pitch or missing fundamental, loudness, timbre, and duration. The theory may also be applied to visual sensations as well as subjective preference of visual environments. Remarkable findings in activities in both auditory-brain and visual-brain systems in relation to subjective preference as a primitive response are described.

This book deals with methods of measurement and evaluation of environmental noise based on an auditory neural and brain-oriented model. The model consists of the autocorrelation function (ACF) and the interaural cross-correlation function (IACF) mechanisms for signals arriving at the two ear entrances. Even when the sound pressure level of a noise is only about 35 dBA, people may feel annoyed due to the aspects of sound quality. These aspects can be formulated by the factors extracted from the ACF and IACF. Several examples of measuring environmental noise-from outdoor noise such as that of aircraft, traffic, and trains, and indoor noise such as caused by floor impact, toilets, and air-conditioning-are demonstrated. According to the noise measurement and evaluation, applications for sound design are discussed. This book provides an excellent resource for students, researchers, and practitioners in a wide range of fields, such as the automotive, railway, and electronics industries, and soundscape, architecture, and acoustics.

Proceeding from basic theory to design studies of concert and multiple purpose halls, the author introduces a remarkable seat selection system for the analysis of new and existing halls, and proposes a diagnostic system for testing the physical properties and calculating the psychological attributes at any seat after a hall is built. The book also presents a theory of subjective preferences, based on a model of the auditory cognitive system in the brain. Readers can thus follow the temporal and spatial values that may be associated with the left and right cerebral hemispheres in listening to music and speech, respectively, in a room. From the results of calculating subjective preference at each seat, for example, architects, musicians, and acoustical engineers concerned with the design and use of concert and multi-use halls may determine the best location to perform a certain type of music on the stage, as well as the best seats from which to listen.

This book focuses on opera house acoustics based on subjective preference theory; it targets researchers in acoustics and vision who are working in physics, psychology and brain physiology. This book helps readers to understand any subjective attributes in relation to objective parameters based on the powerful and workable model of the auditory system. It is reconfirmed here that the well-known Helmholtz theory, which was based on a peripheral model of the auditory system, may not well describe pitch, timbre and duration as well as the spatial sensations described in this book, nor overall responses such as subjective preference of sound fields and the annoyance of environmental noise.

This book deals with methods of measurement and evaluation of environmental noise based on an auditory neural and brain-oriented model. The model consists of the autocorrelation function (ACF) and the interaural cross-correlation function (IACF) mechanisms for signals arriving at the two ear entrances. Even when the sound pressure level of a noise is only about 35 dBA, people may feel annoyed due to the aspects of sound quality. These aspects can be formulated by the factors extracted from the ACF and IACF. Several examples of measuring environmental noise—from outdoor noise such as that of aircraft, traffic, and trains, and indoor noise such as caused by floor impact, toilets, and air-conditioning—are demonstrated. According to the noise measurement and evaluation, applications for sound design are discussed. This book provides an excellent resource for students, researchers, and practitioners in a wide range of fields, such as the automotive, railway, and electronics industries, and soundscape, architecture, and acoustics.

Ando establishes a theory of subjective preference of the sound field in a concert hall, based on preference theory with a model of human auditory- brain system. The model uses the autocorrelation function and the interaural crosscorrelation function for signals arriving at two ear entrances and considers the specialization of human cerebral hemispheres. The theory may be applied to describe primary sensations such as pitch or missing fundamental, loudness, timbre, and duration. The theory may also be applied to visual sensations as well as subjective preference of visual environments. Remarkable findings in activities in both auditory-brain and visual-brain systems in relation to subjective preference as a primitive response are described.

Proceeding from basic theory to design studies of concert and multiple purpose halls, the author introduces a remarkable seat selection system for the analysis of new and existing halls, and proposes a diagnostic system for testing the physical properties and calculating the psychological attributes at any seat after a hall is built. The book also presents a theory of subjective preferences, based on a model of the auditory cognitive system in the brain. Readers can thus follow the temporal and spatial values that may be associated with the left and right cerebral hemispheres in listening to music and speech, respectively, in a room. From the results of calculating subjective preference at each seat, for example, architects, musicians, and acoustical engineers concerned with the design and use of concert and multi-use halls may determine the best location to perform a certain type of music on the stage, as well as the best seats from which to listen.

The acoustic quality of a concert hall has frequently posed a mysterious puzzle, namely, what physical aspects of the sound field can produce superior sound for the listener. The author has been probing for more than adecade into the subjective qualities preferred for musical and speech sounds. The result of his extensive investigations - the discovery that four and only four independent parameters contribute effectively to good acoustics - is summarized in the present book. The capability of calculating acoustical quality at any seat in a proposed concert hall is a unique and quite useful aspect of Ando's design method. Alternative architectural schemes can be compared based on the number of seats which exceeds a previously accepted minimum standard of acoustical quality.

This book focuses on opera house acoustics based on subjective preference theory; it targets researchers in acoustics and vision who are working in physics, psychology and brain physiology. This book helps readers to understand any subjective attributes in relation to objective parameters based on the powerful and workable model of the auditory system. It is reconfirmed here that the well-known Helmholtz theory, which was based on a peripheral model of the auditory system, may not well describe pitch, timbre and duration as well as the spatial sensations described in this book, nor overall responses such as subjective preference of sound fields and the annoyance of environmental noise.