The Acoustic and Cultural Heritage of the Banda Primitiva de Llíria Theater: Objective and Subjective Evaluation
Abstract
:1. Introduction
2. Materials and Methods
2.1. Case Study
2.2. Objective Evaluation
2.2.1. On-Site Measurements
2.2.2. Virtual Model of the Original Theater and Ray-Tracing Simulation
2.3. Subjective Evaluation
2.3.1. Recording and Auralization of Musical Samples
2.3.2. Design of the Survey and Testing Process
3. Results and Discussion
3.1. Analysis of the Objective Evaluation
3.1.1. Three-Dimensional ODEON Model Adjustment
3.1.2. Objective Evaluation of the Quality of the Venue at Two Instants in Its History
3.2. Analysis of the Subjective Evaluation
3.2.1. Consistency of the PCT
3.2.2. Results of Subjective Evaluations
- PC1 (Preference for Original State): Majority clustered around 0.0–0.1.
- PC2 (Preference for Current State): Some dispersion towards PC2 indicating a subtle preference for the current state.
- Components 1 and 2 explain 35.6% of the variance.
- No clear preference for either state; most points revolve around zero.
- PC1 (Preference for Stalls) vs. PC2 (Preference for Second Balcony).
- Subtle preference for the second balcony indicated by dispersion towards PC2.
- Figure 15 summarizes all comparisons. Attributes like reverberance (A5) consistently reflect preferences, while inconsistencies in other attributes might be due to confusion, the difficulty of the test, or personal preferences.
- Original vs. Current State in the Stalls: 57.9% prefer the current state. Direct sound (A1) and brilliance (A4) were more intense in the past, while warmth (A2), intimacy (A3), reverberance (A5), and ensemble (A6) are more present nowadays.
- Original vs. Current State in the Second Balcony: 56.9% prefer the current state. Direct sound (A1) was more intense in the original state for the first two questions but not the third.
- Stalls vs. Second Balcony Nowadays: 43.8% prefer the second balcony. Warmth (A2) and intimacy (A3) were more intense in the stalls, while direct sound (A1), brilliance (A4), and reverberance (A5) had more presence in the second balcony.
4. Conclusions
- The original state of the theater does not differ significantly from the current state in terms of its objective acoustic parameters. However, there is a slight decrease in the overall reverberation time in the current state compared to the original state of the theater. This is primarily because the original chairs were made of wood. Currently, the theater has padded seats and fabric hangings.
- The objective tests show that the theater’s original and current configurations are adequate for the kind of performances that take place in the venue.
- The lower RT of the current state of the theater can be positive for theater representations and symphonic music performances. Also, the results are uniform across all the auditorium areas and little influenced by the occupation percentage.
- According to the merit factor score, the quality of the original state of the theater was slightly higher than that now. While the original theater scored up to 0.927, the current state reached 0.894. Any score higher than 0.8 is considered an excellent result.
- The theater can be compared, both acoustically and culturally, to theaters like the Vilamarta theater in de Jerez de la Frontera. Built in the year 1928, this theater has a comparable design, purpose, and objective acoustic parameters to the one studied in this article, showing they are both versatile and adequate for voice performances and symphonic band concerts [47,48].
- The subjective tests showed that 57.4% preferred the current state of the theater. Also, 43.8% selected the current state of the theater at the second balcony as their preferred configuration, which supports the widespread belief that the second balcony provides an overall better auditory experience.
- Despite the slight majority of the sample preferring the second balcony, the preference for it could not be explained by the PCA tests, which did not explain a significant percentage of the variance.
- That can also be extended to the differences between the original state of the theater and its current state.
- The main change in replacing the wooden seats with padded ones has been in reducing the differences in acoustic parameters depending on the attendance.
- The results indicate that the widespread belief that the second balcony has a much better acoustic condition than the rest of the theater cannot be supported by objective or subjective evidence.
- Although the subjective and objective parameters are difficult to compare, it can be said that they correlate well with each other due to the overall satisfaction of the listeners that conducted the test and the high results obtained in the merit factor.
- Overall, this paper provides a thorough and original analysis of the Banda Primitiva de Llíria theater, combining historical reconstruction, objective measurements, and subjective evaluations. The PCA results and survey data collectively suggest that while there is a slight preference for the current state of the theater, the differences are subtle and not statistically overwhelming. This nuanced understanding contributes to the field of architectural acoustics and cultural heritage preservation.
Supplementary Materials
Author Contributions
Funding
Data Availability Statement
Acknowledgments
Conflicts of Interest
References
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Melody | Location 1 | Time | Fragment |
---|---|---|---|
1 | GF | OS | 1 |
1 | GF | CE | 2 |
1 | FF | OS | 3 |
1 | FF | CE | 4 |
2 | GF | OS | 5 |
2 | GF | CE | 6 |
2 | FF | OS | 7 |
2 | FF | CE | 8 |
3 | GF | OS | 9 |
3 | GF | CE | 10 |
3 | FF | OS | 11 |
3 | FF | CE | 12 |
Parameters | Octave Bands (Hz) | |||||
---|---|---|---|---|---|---|
125 | 250 | 500 | 1k | 2k | 4k | |
EDT | 1.14 | 1.11 | 1.07 | 1.13 | 0.83 | 0.81 |
TR30 | 1.43 | 1.45 | 1.21 | 1.21 | 1.17 | 1.00 |
C80 | 2.73 | 2.8 | 4.18 | 5.18 | 6.05 | 6.27 |
D50 | 0.33 | 0.23 | 0.46 | 0.63 | 0.69 | 0.6 |
STI | 0.61 |
Parameters | Octave Bands (Hz) | |||||
---|---|---|---|---|---|---|
125 | 250 | 500 | 1k | 2k | 4k | |
EDT | 1.12 | 0.97 | 0.85 | 1.09 | 0.88 | 0.71 |
TR30 | 1.53 | 1.38 | 1.20 | 1.22 | 1.18 | 1.01 |
C80 | 0.37 | 1.02 | 4.87 | 4.47 | 4.02 | 5.87 |
D50 | 0.4 | 0.46 | 0.64 | 0.58 | 0.57 | 0.64 |
STI | 0.63 |
Zone | Materials | 125 Hz | 250 Hz | 500 Hz | 1 KHz | 2 KHz | 4 KHz |
---|---|---|---|---|---|---|---|
Around stage mouth, moldings and ceiling curves, parapet P1 zone 1a | Decorated plaster molding | 0.13 | 0.13 | 0.25 | 0.28 | 0.30 | 0.30 |
Stage ceiling room background, parapet P2 | Plaster on brick hollow sound | 0.16 | 0.10 | 0.06 | 0.04 | 0.04 | 0.04 |
Stage and amphitheater flooring P1 zone 1a | Tongue-and-groove wooden flooring on reinforced concrete beams (wooden platform with great air depth) | 0.40 | 0.30 | 0.20 | 0.17 | 0.15 | 0.10 |
PB flooring | Wooden flooring in a chamber (parquet on battens) | 0.05 | 0.03 | 0.06 | 0.09 | 0.10 | 0.20 |
PB carpet | Carpet on wooden flooring | 0.11 | 0.14 | 0.37 | 0.43 | 0.27 | 0.25 |
Amphitheater flooring P1, zone 2a | Linoleum or vinyl glued to concrete | 0.02 | 0.02 | 0.03 | 0.04 | 0.04 | 0.05 |
Amphitheater flooring P2 | Enamel-painted concrete | 0.01 | 0.01 | 0.01 | 0.02 | 0.02 | 0.02 |
Floor stairs access P1 + baseboard and P2 | Marble or polished tile | 0.01 | 0.01 | 0.01 | 0.01 | 0.02 | 0.02 |
Vertical walls (hollow sound) | Plastering on plasterboard with an air chamber | 0.29 | 0.10 | 0.05 | 0.04 | 0.07 | 0.09 |
Vertical walls (solid sound) | Plaster on brick | 0.01 | 0.02 | 0.02 | 0.03 | 0.04 | 0.05 |
P1 parapet zone 2a, ground floor plinth, stage front | Thin wood (5–10 mm) forming an air chamber at the back | 0.42 | 0.21 | 0.06 | 0.05 | 0.05 | 0.04 |
Door access to plants | Solid wood, 5 cm thick | 0.01 | 0.05 | 0.05 | 0.04 | 0.04 | 0.04 |
Amphitheater seats 1 and 2 | Medium upholstered armchairs | 0.56 | 0.64 | 0.70 | 0.72 | 0.68 | 0.62 |
Silver seats | Heavily upholstered chairs | 0.72 | 0.79 | 0.83 | 0.84 | 0.83 | 0.79 |
General roof and low overhang first amphitheater | 13 mm plaster on 25 mm studs (with mineral wool) | 0.28 | 0.20 | 0.12 | 0.07 | 0.05 | 0.07 |
Quilted fabric frames on walls | Quilted fabric frames on walls | 0.17 | 0.50 | 0.57 | 0.55 | 0.55 | 0.50 |
Scene mouth | Scene mouth | 0.15 | 0.18 | 0.37 | 0.45 | 0.50 | 0.57 |
Current | Original | |
---|---|---|
Stalls | 0.852 (0.03) | 0.861 (0.04) |
Balcony | 0.840 (0.09) | 0.877 (0.07) |
Second balcony | 0.894 (0.03) | 0.927 (0.01) |
Percentual Result | % | |||
---|---|---|---|---|
Gender: | ||||
Female | 44.66 | |||
Male | 54.37 | |||
Age: | ||||
11 to 19 | 17.48 | |||
20 to 29 | 16.50 | |||
30 to 39 | 16.50 | |||
40 to 49 | 19.42 | |||
50 to 59 | 21.36 | |||
60 to 69 | 7.77 | |||
Relationship with music and/or concert halls: | ||||
Men | Women | Total | % | |
Professional | 39 | 22 | 61 | 59.22 |
Student | 9 | 16 | 25 | 24.27 |
Music Lover | 8 | 8 | 16 | 15.53 |
Self-skill-level judgement: | ||||
Good | 51 | 34 | 85 | 82.52 |
Average | 5 | 10 | 15 | 14.56 |
Low | 0 | 2 | 2 | 1.94 |
Type of instrument: | ||||
Wind | 55.6 | |||
String | 15.2 | |||
Percussion | 23.2 | |||
Not specified | 6.06 |
Comparison | Fragments | Question | Melody | |
---|---|---|---|---|
Original vs. nowadays in the stalls | 1 | 2 | 1 | 1 |
5 | 6 | 3 | 2 | |
9 | 10 | 5 | 3 | |
Original vs. nowadays in the second balcony | 3 | 4 | 2 | 1 |
7 | 8 | 4 | 2 | |
11 | 12 | 6 | 3 | |
Stalls vs. second balcony nowadays | 2 | 4 | 7 | 1 |
6 | 8 | 8 | 2 | |
10 | 12 | 9 | 3 |
% | |||||||
---|---|---|---|---|---|---|---|
A1 | A2 | A3 | A4 | A5 | A6 | G | |
Question 1 | |||||||
COMP_1_CRIT_1 | 63.6 | 37.4 | 48.5 | 36.4 | 17.2 | 26.3 | 22.2 |
COMP_1_CRIT_2 | 25.3 | 54.5 | 24.2 | 49.5 | 65.7 | 53.5 | 62.6 |
COMP_1_CRIT_0 | 11.1 | 8.08 | 27.3 | 14.1 | 17.2 | 20.2 | 15.2 |
Question 3 | |||||||
COMP_2_CRIT_1 | 64.6 | 20.2 | 17.2 | 62.6 | 29.3 | 19.2 | 27.3 |
COMP_2_CRIT_2 | 15.2 | 66.7 | 64.6 | 17.2 | 41.4 | 49.5 | 50.5 |
COMP_2_CRIT_0 | 20.2 | 13.1 | 18.2 | 20.2 | 29.3 | 31.3 | 22.2 |
Question 5 | |||||||
COMP_3_CRIT_1 | 38.4 | 39.4 | 35.4 | 30.3 | 22.2 | 35.4 | 23.2 |
COMP_3_CRIT_2 | 42.4 | 51.5 | 39.4 | 49.5 | 58.6 | 47.5 | 60.6 |
COMP_3_CRIT_0 | 19.2 | 9.09 | 25.3 | 20.2 | 19.2 | 17.2 | 16.2 |
Average per criteria | |||||||
COMP_135_CRIT_1 | 55.6 | 32.3 | 33.7 | 43.1 | 22.9 | 26.9 | 24.2 |
COMP_135_CRIT_2 | 27.6 | 57.6 | 42.8 | 38.7 | 55.2 | 50.2 | 57.9 |
COMP_135_CRIT_0 | 16.8 | 10.1 | 23.6 | 18.2 | 21.9 | 22.9 | 17.8 |
A1 | A2 | A3 | A4 | A5 | A6 | G | |
---|---|---|---|---|---|---|---|
Question 2 | |||||||
COMP_1_CRIT_1 | 46.5 | 39.4 | 44.4 | 32.3 | 10.1 | 33.3 | 28.3 |
COMP_1_CRIT_2 | 35.4 | 46.5 | 20.2 | 52.5 | 72.7 | 45.5 | 50.5 |
COMP_1_CRIT_0 | 18.2 | 14.1 | 35.4 | 15.2 | 17.2 | 21.2 | 21.2 |
Question 4 | |||||||
COMP_2_CRIT_1 | 47.5 | 29.3 | 38.4 | 36.4 | 20.2 | 21.2 | 21.2 |
COMP_2_CRIT_2 | 30.3 | 53.5 | 36.4 | 51.5 | 60.6 | 58.6 | 62.6 |
COMP_2_CRIT_0 | 22.2 | 17.2 | 25.3 | 12.1 | 19.2 | 20.2 | 16.2 |
Question 6 | |||||||
COMP_3_CRIT_1 | 30.3 | 49.5 | 64.6 | 22.2 | 12.1 | 38.4 | 32.3 |
COMP_3_CRIT_2 | 56.6 | 44.4 | 20.2 | 71.7 | 75.8 | 43.4 | 57.6 |
COMP_3_CRIT_0 | 13.1 | 6.06 | 15.2 | 6.06 | 12.1 | 18.2 | 10.1 |
Average per criteria | |||||||
COMP_246_CRIT_1 | 41.4 | 39.4 | 49.2 | 30.3 | 14.1 | 31 | 27.3 |
COMP_246_CRIT_2 | 40.7 | 48.1 | 25.6 | 58.6 | 69.7 | 49.2 | 56.9 |
COMP_246_CRIT_0 | 17.8 | 12.5 | 25.3 | 11.1 | 16.2 | 19.9 | 15.8 |
A1 | A2 | A3 | A4 | A5 | A6 | G | |
---|---|---|---|---|---|---|---|
Question 7 | |||||||
COMP_1_CRIT_1 | 31.31 | 57.58 | 53.54 | 16.16 | 12.12 | 38.38 | 34.34 |
COMP_1_CRIT_2 | 52.53 | 27.27 | 16.16 | 64.65 | 64.65 | 34.34 | 41.41 |
COMP_1_CRIT_0 | 16.16 | 15.15 | 30.30 | 19.19 | 23.23 | 27.27 | 24.24 |
Question 8 | |||||||
COMP_2_CRIT_1 | 31.31 | 40.40 | 50.51 | 21.21 | 13.13 | 32.32 | 26.26 |
COMP_2_CRIT_2 | 46.46 | 42.42 | 23.23 | 58.59 | 63.64 | 43.43 | 48.48 |
COMP_2_CRIT_0 | 22.22 | 17.17 | 26.26 | 20.20 | 23.23 | 24.24 | 25.25 |
Question 9 | |||||||
COMP_3_CRIT_1 | 39.39 | 59.60 | 60.61 | 27.27 | 22.22 | 48.48 | 46.46 |
COMP_3_CRIT_2 | 48.48 | 36.36 | 22.22 | 62.63 | 64.65 | 36.36 | 41.41 |
COMP_3_CRIT_0 | 12.12 | 4.04 | 17.17 | 10.10 | 13.13 | 15.15 | 12.12 |
Mean per criteria | |||||||
COMP_789_CRIT_1 | 34 | 52.5 | 54.9 | 21.5 | 15.8 | 39.7 | 35.7 |
COMP_789_CRIT_2 | 49.2 | 35.4 | 20.5 | 62 | 64.3 | 38 | 43.8 |
COMP_789_CRIT_0 | 16.8 | 12.1 | 24.6 | 16.5 | 19.9 | 22.2 | 20.5 |
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Pérez-Aguilar, B.; Quintana-Gallardo, A.; Gasent-Blesa, J.L.; Guillén-Guillamón, I. The Acoustic and Cultural Heritage of the Banda Primitiva de Llíria Theater: Objective and Subjective Evaluation. Buildings 2024, 14, 2329. https://doi.org/10.3390/buildings14082329
Pérez-Aguilar B, Quintana-Gallardo A, Gasent-Blesa JL, Guillén-Guillamón I. The Acoustic and Cultural Heritage of the Banda Primitiva de Llíria Theater: Objective and Subjective Evaluation. Buildings. 2024; 14(8):2329. https://doi.org/10.3390/buildings14082329
Chicago/Turabian StylePérez-Aguilar, Blanca, Alberto Quintana-Gallardo, Jose L. Gasent-Blesa, and Ignacio Guillén-Guillamón. 2024. "The Acoustic and Cultural Heritage of the Banda Primitiva de Llíria Theater: Objective and Subjective Evaluation" Buildings 14, no. 8: 2329. https://doi.org/10.3390/buildings14082329