After the fall of the Eastern Roman Empire in 1453, the prestige of the church declined, secular power increased, and the restrictions on freedom of thought gradually

were no longer enough. Scientific research became increasingly popular, and rational beliefs began to replace the worship of gods. After more than a century, Europe finally ushered in the magnificent Renaissance. This is a period in science, philosophy, literature,

A time when hundreds of flowers bloomed in many fields of art, and triumphant songs of "knowledge is power" were played one after another. Music also came out of churches

and entered the palaces of princes and nobles and the private homes of the rich. In the living room.

1 Classical Period

In the 17th century, music and art developed rapidly. During this period, string instruments were the mainstay, as well as woodwind instruments and brass instruments

The chamber orchestra formed: By the end of the 17th century, there was an early classical symphony orchestra; it appeared in the late 1670s

The earliest professional concert hall in Europe - York House Concert Hall in London (200 (seat). The concert halls that played music during this period were based on celestial harmony in terms of overall and local relationships. They also absorbed proportion and harmony from music and inherited it from the 16th century.

< p>The hall designed by Palladio (1518-1580) in Italy had a commonly used aspect ratio of 3:2: therefore, the shape of the concert hall during this period was rectangular, with its height:width The ratio of length is often 2.3 to 3.7, which is in line with the "golden ratio".

The architectural style of the concert hall in the classical period still follows the characteristics of the palace living room, and its spatial image is easy to identify, with scale and proportion

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The example has a rhythmic balance, is reasonable and humane, and is consistent with a quiet lifestyle. Due to its small volume, the proportion complies with the "gold

gold rate" and has good diffusion; reverberation The time is short (about 1,G-1-3 secondsi); the direct sound intensity is strong, and the reflection ability of each surface is strong, so the clarity is high and the intimacy is strong. During this period, Bach (16851750), The work style of Handel (1685-1759) is represented

The requirements for clarity of syllables are also very important, and each part cannot be obscured. Therefore, the sound quality characteristics and music style of the concert hall

< p>It is suitable.

2 Baroque period

At the beginning of the 18th century, the concept and model of the orchestra had been basically formed by Arcangelo Corelli (1653-1713) The

Chamber Sonatas and Concerto Grosso are examples of Baroque instrumental works. In the 18th century, the orchestra gradually took shape. By the end of the 18th century, the symphony orchestra already had a balance of power. String instrument group, double-pipe woodwind instrument group, two horns

two trumpets and a set of drums.

Due to social development, music has entered society. In London, Paris, Leipzig, Berlin, Vienna and other places often hold public concerts

for which many public concert halls have been built. For example, the Holywell Concert Hall in Oxford, England (1748 )

About 300 seats, the reverberation time of the full venue is about 1.5 seconds: Altes Gewandhaus (1780) in Leipzig, Germany, 400 seats; the full venue

The reverberation time will not exceed 1.3 seconds: 800 seats in the Redoutensaal in Vienna. The hall was built in 1631. After it was completed, it was continuously renovated. It was finally completed in 1700. It was blocked with a shallow platform and the height was increased to 16m, so it is the earliest The "shoebox-style" concert hall

K. has a ringing time of about 1.4 seconds.

The size of the concert hall in this period was larger than the living room-style concert hall in the 17th century. .Due to the increased capacity, there are overhangs on the inner wall and

back wall of the hall. The height of the hall is about 15m, the width is about 16m, and the space ratio is about 1:1:2

It has a "shoe box" body shape. The reverberation time is 1.5-1.7 seconds. The hall has rich tones, diffuse sound field, clarity and intimacy, suitable for performing Beethoven. Early works (before 1820).

The interior of the hall has gradually evolved from classical architectural style to Baroque style; this style emphasizes and uses techniques to create special

artistic effects. Therefore greatly

Attracting those princes and nobles who pay attention to ostentation, the layout of the palace living rooms is high and low, with concave and convex walls, rich decoration, and jewels. But the space is harmonious. , gorgeous. Baroque music emphasizes emotion

Expression, rich and diverse, full of wonderful connotations, but often inevitably brings glitz, arrogance and the pursuit of pure form

, lacks depth. Therefore, the acoustic characteristics of the concert hall in this period are consistent with the style of Baroque architecture and music,

It has a very good reputation.

3. Romantic Period

After the mid-18th century, historians regarded the British bourgeois revolution as the beginning of modern history. At that time, there were new trends in literature, art

and philosophy, and the storm of the French Revolution After the Napoleonic era passed, French Romanticism began.

European music developed from the Baroque period to the Romantic Ming Dynasty. During this period, musical talents emerged in large numbers and the stars were shining. It was music

The golden age of music. Music has become a necessity for the cultural life of the emerging bourgeoisie citizens, and Europe has begun to have much larger public music venues than before

Music is mainly for music performances. Hall: Panzhi Concert Hall is mostly built to imitate concert halls with successful sound quality

, so the shape, space, internal arrangement and architectural treatment and even the acoustic characteristics are similar. This type of concert hall has

Old Boston Sympheny Hall (1863), 2400 seats, reverberation time is 1.8 seconds; Vienna Grosser Musik

Vereinssaal (1870), 1680 seats, reverberation time is 2.0 Seconds; Basel Stadt-Casino (1876), 1400 seats,

a reverberation time is 2.1 seconds; Glasgow Andeew's Music Hall (1877), 2130 seats, reverberation time is 1.9 seconds,

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The hall has seats arranged behind the bandstand, which can absorb the volume of loud power instruments, such as percussion instruments, brass instruments, etc., and obtain a good balance between the various parts

.This is also the prototype of the later surrounding concert hall; Leipzig Nut c Gewandhaus

(1886), 1560 seats, reverberation time of 1.55 seconds: Amsterdam Concert Hall (1888), 22 (, 0 seats, the reverberation time

is 2.0 seconds. The leader is the Vienna Concert Hall, with a volume (V) of about 15,000m3 and a total surface area (S) of about 4,000m3.

< p>Each building has a volume of 9 mines, a width (W) of 21m, a height (H) of 17.5 m, a length (L) of 40 m, and a space ratio of 1:1.2:

2 . 3 (H:.:L). This magnificent building, known as the "Golden Hall", was designed by Theophile Hansen with its splendid architectural style and gorgeous and brilliant acoustics. It is worthy of the reputation of "golden". The famous conductor Karajan praised: "The sound of the hall is very full, the bass is very rich, and the timbre of the high-pitched strings is also beautiful... This is an evocative place. The hall is a highly imaginative hall that gives conductors a sense of beauty. It is still a model of concert hall architecture.

The concert halls built during this period had a larger volume. It is 10000^-20000 m, with a capacity of about 2000 seats, and the space is large.

The volume of each seat is 7.10 square meters, and the ratio is about 1:1-1.3:2.3-2.6 (tw:w:L) The proportions are slender and delicate, but if you carefully analyze its space, you will find that: taking the conductor as the cutting point, the length ratio of the listening area to the performance area is about 1.618 2 la

The width of this type of concert hall is about 20., the height of the hall is 15-19., and the length is about 40.. Because there is a shallow side platform,

so the ratio of height to width is close to 1 2. 1. The ratio of volume (V) to total area (S) is about 3.7; 5. "shoe box" space; there are shallow overhangs along the side walls and overhangs on the back wall. The stage, performance area and listening area are all in the same space: the interior decoration is elegant and gorgeous, with a large number of sculptures and large crystal lamps, the sound field is diffused, and the reverberation time is 1.8-2.

2 seconds, the sound energy ratio between direct sound and reverberated sound is small, forming a sound quality with rich tones and low definition, which has become a typical environment for performing the music works of the Sampai School

< p>Environment. Most of these concert halls are a compromise between classical revival and Baroque or Rococo styles, but they all have a dignified artistic image

and extraordinary acoustic effects. It is still music to this day They are models of the acoustics and architectural space of hall buildings; so they have made considerable contributions to the development history of indoor acoustics, and are also treasures and treasures in architectural art.

4 .New Architecture Period

From the end of the 19th century to the beginning of the 20th century, the relationship between man and the material world showed compliance with the laws of science and technology, advocating the supremacy of rationality

: "Function determines form." ’s design ideas have been widely accepted, and it is believed that the design of buildings should have a scientific basis. The scientific development of this period was in the functions, sightlines, lighting, acoustics, stage machinery and even air-conditioning technology of the performance building.

The achievements of

all provide the basis for design in a timely manner. In addition, with the development of society, people's demand for music urgently requires the construction of large

47

ilwewe sun and moon...,.,11

Concert hall with a capacity of 11. The above have promoted architects’ reform and innovation in designing concert halls. However, no matter from the construction point of view

There are great contradictions and immaturity in the expression form of architectural art, the rationality of the combination with functions, and the application of science and technology. This fully demonstrates the Characteristics of the era.

Many concert halls were built during this period, the famous ones include:

Chicago Orchestra Hall (1891-1905), 2582 seats, reverberation time is 1.3 seconds. In order to solve the line of sight problem

, the lateral shallow platform in the hall was cancelled; in order to increase the star capacity, a two-story large platform was built: the pool seat has a low rise: the hall

The interior treatment method obviously has the influence of the classical opera house, but the performance area and the listening area are still in the same space. The ceiling of the performance area

and the ceiling of the listening area are both connected. Together, they are tilted upward, which is conducive to primary sound reflection. The sound quality in the hall is a bit dull, but clear

Clear. New York Casnegie HaI1 (1891), 2760 seats, the sound time (a] is 1.7 seconds .The plane of the main hall is almost square (30m

X 34m). The second and third floors are horseshoe-shaped pavilions surrounding the entrance of the orchestra, just like a classical opera house: the fourth and fifth floors are

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Da Taotai. The height of the hall is 24m. The performance area clearly forms a framed proscenium: the pipe organ is on the side wall of the stage. The sound quality in the hall is average. Queen's Hall, London (1893 Year), 2000 seats, reverberation time is 1.3 seconds. There are convex walls on both sides of the bandstand,

which can reflect the band's sound evenly to the audience seats. The sound quality of the hall is not very ideal. Edinburgh Usher Hall (1914), 2760 seats, reverberation time is 1. 7 seconds. The listening area is a horseshoe-shaped plane. It has two floors of balconies, which surround the bandstand.

It has the characteristics of a modern theater, but also clearly has the influence of a classical opera house. The performance area is end-type, and the bevel angle of the walls on both sides is less than 100, which is beneficial to sound reflection. There are seats for the chorus behind the band. The performance area and the listening area are obviously divided into two areas:

It forms a frame-type stage mouth. Due to the resonance phenomenon on the band stage, the low-frequency sound is "colored" The phenomenon is that the sound amplification in the hall is not good,

the sound quality is rough, and the sound field is uneven.

This type of concert hall has about 2500^2800 seats. The shape and style of the hall are different from The "shoebox" style of the traditional concert hall

is similar to that of a classical opera house. Due to its large capacity and short sight line, the width of the hall is large; due to its multi-layered platforms.

< p>The height is 18-20m, so the volume is large, but the ratio of the volume to the total surface area ((V/S)) is not large, so the reverberation time is not long and the fullness is poor. At the same time, due to the large width, the understanding of the reflected sound is preliminary, not comprehensive, and the processing is immature.

It is not systematic, and the timing and direction of the reflected sound are not good, so the sound quality is not good. However, Acoustics from Harvard University

Professor Sabin

Based on the theory of indoor reverberation time he obtained through experiments as a guide, he designed and built the new Boston Concert Hall

(190.), 2631 seats , with a reverberation time of 1.8 seconds, it has achieved extraordinary success and is known as the three famous classical concert halls together with the Vienna Concertgebouw and the Arms Concert Hall. In terms of architectural art, The hall inherits the model of a classical concert hall before the end of the 19th century - a "shoebox" shape, with two-story shallow platforms on the side walls and two-story platforms on the back wall. The performance area is the end of the hall. End

style, the side walls and ceiling have V degrees to facilitate reflection. The height (H) of the hall is 18.5m, the width (W) is 23m, and the length (L) is 39.5m,

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The space ratio (H:W:L) is 1:1.24:2.14, which is in line with the "golden ratio". When Sabin designed the hall, he adhered to the acoustic science

Based on the principle, the owner's request for a capacity twice that of Vienna (1,680 seats) was rejected, and the capacity was 2,631 seats, maintaining the "shoe box" spatial proportions of the hall and improving the bandstand. The ceiling is high and the neck is tilted to facilitate reflection.

5 Modernism (before World War II)

On the eve of the European War, the Western architectural community inherited the innovation of the "New Architecture" movement spirit, trying to break away from the shackles of academic retroism and eclecticism, and carried out various explorations of new "architecture", gradually forming "modern architecture". After the war, the German style was adopted.

< p>The "Baosi" faction headed by Lopias advocates "technology, economy and function", which means that architectural design should use new technologies

to solve new functions economically. In theory and practice was finally destroyed by the "New Architecture" movement, which still dominated the academic world.

During this period, acoustic research also made great progress. A great achievement, especially from 1925 to 1927, Nutsun proposed the relationship between the optimal reverberation time and the volume of the hall through the measurement and evaluation of different halls: speech intelligibility and The physical parameters of the room

—the relationship between loudness, noise level, reverberation time and body size; in fact, only the impact of loudness and reverberation time on speech intelligibility

Experiments, and the minimum sound path difference that forms an echo. Therefore, modern concert halls that were designed and built based on the best sound quality conditions at that time appeared, such as: Salle in Paris.

Pleyel (1927), 3000 seats, reverberation time of 1.45 seconds. In order to increase the volume and improve the line of sight, a fan-shaped plan and a two-story balcony were adopted. According to the popular among architects Acoustic concept - sound ray analysis method,

that is, to evenly distribute the first reflected sound, a parabolic ceiling must be used, which can evenly reflect the sound from the performance stage to the audience

seats, and make the sound path difference between the first reflected sound and the direct sound no more than 22 meters, so that no echo will be produced: However, the noise from the auditorium is also reflected by the ceiling and concentrated on the bandstand, causing interference and analyzed the body shape and determined the dimensions - length (L is 51 meters, width 21-31 meters, average height 18 meters: because the architect does not understand the relationship between reverberation time and volume and materials ,

So the volume is too large. Acousticians are concerned with determining the sound time of the hall based on Sabine's stick sound concept, and the analysis of sound rays

and the size of the body The relationship is not concerned, so the acoustic basis for designing the hall cannot be proposed. Therefore, when acousticians are still discussing how to choose the reverberation time, architects have already determined the size of the hall based on the sound line concept. , constitutes space, because size is

the element that constitutes space, and the architect's main task is the design of space. Both of them go their own way, and if they do not cooperate well, many problems will arise

.In addition, the acoustics community at that time believed that the listening area should be as quiet as possible, and the area around the bandstand should be strongly reflective so that the sound of the performance could be reflected to the audience as much as possible. In essence, this was the sound quality of cinemas that was just emerging at the time. The design approach, although this approach is not comprehensive for movie theaters

. Therefore, the sound quality of the concert hall is good for speech intelligibility, but not good for music, so

< p>Symphonies are rarely performed here. Severance Ha, Cleveland, USA

ll (1930), 1890 seats, reverberation time 1.4 seconds. The design concept of this hall is the same as above, so the sound quality effect is the same. New Philhinmonic Hall in Liverpool, England (1939 Year), 1955 seats, reverberation time 1.5 seconds. Klimhans Hall in Buffalo, USA (1!41 years), 2839 seats, reverberation time 1.32 seconds. The above-mentioned concert halls represent representative performances since 1900 The models of concert halls built in -195.

The sound quality was not ideal.

Concert halls during this period had a large capacity, generally 2,000-3,000 seats. In the United States, even Reaching 4000-^6000 seats, in order to increase the capacity, shorten the sight distance and avoid the shortcomings of poor sight lines in multi-layered boxes, the rear part of the hall was greatly expanded into a fan-shaped plane. At the same time, a large overhang was added, and its height-to-depth ratio was generally no greater than 1/2. According to the acoustic design concept popular among architects at the time, the longitudinal section of the ceiling was designed into an arc or arc shape. Parabolic shape to obtain the smallest sound path difference, so the height of the ceiling is greatly reduced, so that the ratio of the height and width of the concert hall changes from 1:1-3:4 to 1: 2^+1:3, becoming a flat space

Because the acoustic characteristics of movies have not been correctly understood, sound-absorbing materials are widely used, even to the point of abuse, so

The reverberation time in the hall is very short (about 1.5 seconds or less), the clarity is high, and the tone is not full. Yuko's acoustic design method represented by Salle in Paris

Pleyel has been used in most textbooks and related Recommended and introduced by architectural magazines, it was adopted to varying degrees

in most modern concert hall or theater designs. Its influence was far-reaching, and it was not until the 1950s that acoustic science

The development has gradually decreased, but it still has an influence. In particular, the concept of replacing acoustic design with sound line method is still very strong, especially in my country's architectural circles.

Denmark Copenhagen Radio Concert Hall (1946), 1093 seats, reverberation time is 1.5 seconds, its mode is the same as above,

But because of the thin shell structure and the high top of the shell, the bandstand The sound cannot be reflected evenly, and most of it is reflected to the seats on the first floor, and there is a focus phenomenon. Therefore, after the war (1954-1955), the measures were to improve the performance of the game.

The upper part of the suspended horizontal organic glass sound reflection series has 5 rows, 26 pieces of different sizes, and the height from the table is 7-8 meters, ensuring

Evenly distributes the first reflected sound within 50 milliseconds, and also gives a certain amount of reflected sound in the performance stage. This is the first time in modern concert halls that suspended sound in high spaces appears. The acoustic reflection board had a great influence on the future changes in the style of the concert hall.

6 Modernism (after World War II)

> In the 1900s, Huanzhou's economy developed, so various countries began to build and restore cultural buildings destroyed in the war, such as:

Lunjiao Zaojia Festival Concert Hall (1951), 3,000 seats, reverberation time is 1.45 seconds. The acoustic design of the concert hall is more thoughtful. There have been many discussions and experiments on the shape, reflective surface and arrangement of acoustic materials. The plane of the concert hall is rectangular,

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The space is of a shoebox type, absorbing the experience of classical concert halls. Since there are 3,000 seats, 1,400 seats are arranged on both sides of the bandstand and

back). It has the characteristics of surround style. Although the shape of this hall is in the model of a classical concert hall, it is still influenced by pre-war modern design. In order to evenly distribute the first reflected sound, The importance of lateral reflection is not yet recognized

so the bandstand and the front area of ??the pool seat are placed in a fan-shaped plane, but the side wall has a larger bevel angle. It is suspended on the bandstand

Hang three large arc 1(% oblique reflective panels to increase the first reflected sound. There are four levels of boxes on the upper side of the side wall. It was originally hoped to increase diffusion

but it failed. On the contrary, there is not only no diffusion effect, but a large amount of sound absorption value, especially for low-level absorption. So the hall is too quiet. The fullness is not enough, but it is very clear. So the effect

It is still the same as the pre-war modern concert hall. Due to the research on the relationship between the style of symphony

works and the reverberation time, the reverberation time of the Jin Concert Hall built in the later period has gradually increased, such as the Berlin Musicology

Kneeling Concert Hall (1954), 1,360 seats, reverberation time is 1.95 seconds. Rectangular plane, the balcony expands outward into a long hexagon.

The design is still subject to challenges Influenced by pre-modernism, the ceiling is curved, causing the sound from the bandstand to be directly reflected to the balcony.

The sound field in the hall is unevenly distributed and poorly diffused, so it is not good for symphony and chamber music. And the solo effect is better. Due to the acoustic research, we have conducted a microscopic analysis of the indoor sound energy attenuation process, discussed the impact of the previous reflected sound on the indoor sound quality, and

And the important role of lateral reflection was discovered, but the reverberation theory is still the basic basis, so the diffusion of the sound field should be the basic condition for the sound quality of the concert hall. Stuttgart, Germany Concert Hall (1965), 2000 seats, reverberation time is 1.9

In order to obtain a good diffused sound field, Professor Klimeier proposed the principle of asymmetry. The plane of the hall is very special, with a three-dimensional shape.

For the corner piano, the bandstand is located in an asymmetrical position in the hall. Its left wall is a large concrete convex surface to ensure radiated sound energy,

so that the listeners on the right have Strong primary reflection sound. In order to bring the audience as close as possible to the sound source, the large auditorium is arranged on the left side,

in order to bring a large number of listeners closer to the first violin. There are a large number of diffusers in the hall to ensure The reverberation process of sound energy attenuation has a good degree of diffusion. Therefore, there is not only strong reflected sound energy in the hall, but also good diffused sound energy. This is a prominent example in this period

This is a completely novel model created under the guidance of correct acoustic science.

7 Wang Jiandaiism (Recent)

Due to the "learning theory and practice" The development of architecture theory, reflection and innovation of architectural theory, the vision of concert hall design pays more attention to the combination of science and art. Berlin Philharmonic Concert Hall (1963), 2218 seats, reverberation time is 2 Second, this was designed by the "modern architecture" master Chalon Fir and the acoustician Professor Kerry Meyer. They integrated the opinions and achievements of all parties,

< p>Focus on human factors, explore the relationship between the spatial environment of the concert hall and people, successfully solve the contradiction between science and art, content

and form, and create the world's first surround-style It is one of the most successful works in the world: it has great significance in the architectural history and acoustic history of the concert hall. It is symmetrical from the plane. But It is asymmetric in space

and realizes Klimayer's asymmetry principle. Christchurch Concert Hall, New Zealand (1972), 2650

Seats, mixed The reverberation time is 2.3 seconds. The Sydney Opera House Concert Hall (1973), 2690 seats, the reverberation time is 2.0 seconds.

Wellington Concert Hall, New Zealand (1976), 2500 seats, reverberation time The time is 2.45 seconds. The Denver Concert Hall in the United States (1978), 2750 seats, the reverberation time is 2.0. The David Concert Hall in San Francisco (1980), the reverberation time is 2.2 seconds.

Japan’s Suntory Concert Hall (1986), 2690 seats, reverberation time of 2 seconds. These concert halls were mobilized and synthesized after the Berlin Philharmonic

musical film Use various technical and artistic means to create different types of seating surrounds with excellent audio-visual performance

The A-concert hall where the performance hall is played, whether it is a shoebox style or a Round, oval, irregular

etc., although the space forms are different, the proportions of the space enclosed by the band table and the front seats are all in line with classical music

The spatial proportions of the hall follow the "golden ratio".

Looking at the development of Western concert halls over the past 100 years, it has developed from a rectangular hall to a rectangular hall at the end of the 19th century. "Shoebox style"

The change in the model of the large-scale public concert hall is mainly due to the development of society and people's demand for music, prompting the capacity

caused by the increase. But it still follows the "golden rate" ratio. Since this century, the development of science and technology has promoted convenience

People's way of thinking

has changed, following the laws of science and technology. Therefore, the changes in the touch style of the concert hall are mainly based on sightlines, comfort and other requirements.

The side shallow shallow view has been canceled. The theater model of a framed stage opening was formed, but this model was not very scientific or artistic in visual terms, and was quickly eliminated. At the beginning of this century, competitions Professor Bin created the concept of reverberation time, which established the design and construction of the concert hall on a scientific basis. However, before the Second World War, due to the incomplete understanding of iR, the acoustics community

< p>Focus on the research of acoustic theory and technology, but do not pay attention to the specific measures of how to constitute the concert hall space. The architectural community is one-sided

From the uniform distribution of the first reflected sound, the concept of reverberation is ignored The relationship with the space size and materials of the concert hall is not understood. The two are designed independently, which makes the acoustic theory and architectural art design disconnected, even in the elements that constitute the space - the size of the concert hall< /p>

Neither of them can cooperate with each other to provide a basis that is consistent with acoustics and architectural science. As a result, fan-shaped planes with large V angles, large balconies, and flat spaces became the main spatial patterns of this period. The reverberation time is short, and the sound quality is dry, not full, but very clear. The diversification of modern people's lifestyles and ways of thinking has led to the diversification of architectural styles as cultural forms, and due to construction, materials

The development of music and technology has promoted the development of architecture towards diversification and diversification. In order to adapt to people's diverse and diverse requirements for cultural entertainment and aesthetic taste

, the concert hall The spatial environment has also changed greatly. Sound quality design has also gradually explored the characteristics of different stages in the reverberation process from the reverberation theory at the beginning of this century, and entered the stage of reverberation. The indoor sound energy attenuation process was studied microscopically, and the timing and direction characteristics of early reflected sound were understood, as well as the impact of various characteristics on subjective feelings during the entire attenuation process. Impact. At present, it is developing in a comprehensive direction, confirming the reverberation theory as the basis, and developing in the micro direction. It considers the rationality of early reflected sound composition and moderate lateral reflection to promote indoor sound energy. As r time increases,

the conditions for diffusing the sound field can be reached in the early stage of the indoor reverberation process, allowing people to feel a strong sense of reverberation. Therefore,

Acoustics The development of theory and technology adapts to the diversification and diversification of people's thinking. With the development of the times, the capacity of the concert hall has increased, and its types and styles have also become diverse. ; However, due to the size requirements restricted by the laws of acoustics, the space of the concert hall must make full use of the volume of natural sound sources, so that the audience can cover the Guoqian bandstand, forming an surrounding high altitude

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space pattern, and the main space it surrounds, that is, the space composed of the performance area and the auditorium in front of it, should follow the ratio of the "golden

ratio. But its spatial characteristics It should be diverse and diverse; the reverberation time has been extended from 1.8-2.0 seconds in the classical concert hall to 2.0-2.2 seconds, and there is a trend of extending it further, while the capacity is no more than 2,500 seats. Left and right.

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