To a lesser extent, the Choir Stalls themselves contributed to the screening off of this area from the rest of the building by shielding the chief sources of sound from the rest of the Choir area. From the Visual Model, rendered by Austin Corriher. The Choir - and especially the area of the Choir occupied by the Choir Stalls - made an acoustical unit for us, since it was largely screened off from the Nave by the Choir Screen that separated the Choir from the Nave at ground level, the originating site for most of the sound that was produced inside the Cathedral. In the case of the Virtual St Paul’s Cathedral Project, we created an acoustic model of the entire interior of the Cathedral, but concentrated our efforts on the Cathedral’s Choir, where worship services were conducted.
When digital models of sound waves are introduced into the model of the acoustic space, they will behave as they would if this were real sounds introduced into real spaces.
NCSU CRYSTAL MAKER SOFTWARE
From the Visual Model, rendered by Austin Corriher.Īcoustic modeling software creates a digital model of the space in which the sound is to be heard, including both the geometric forms defining the space and the materials out of which the surfaces of the geometrical forms are made. Sound, when it encounters an object, is either transmitted, reflected, or absorbed to a greater or lesser degree, depending on the size, shape, and physical characteristics of the materials that make up the surface of objects in the path of the sound waves. Then, the geometry of the space and the composition of the surfaces in the space affect the transmission of sound. Sound, once produced, moves through space, gradually losing energy (loudness) at a known rate as it moves away from the sound source, until it meets the natural or architectural features that shape and confine the space. So, the further the hearer is from the sound source, the quieter the sound relative to the volume of the sound at the moment of emission.Īn acoustic model provides the basic geometry of a space, along with the the acoustic properties of the materials used in the construction of that space. If the space in which the sound is heard is an open space, then the sound attenuates over time at a predictable rate as it moves through space. Sound, once emitted, behaves in predictable ways. We can hear these worship services inside the Acoustic Model of the Choir of St Paul’s Cathedral, a worship space which has not existed since it was destroyed by the Great Fire of London in 1666. These services are scripted by the Book of Common Prayer of 1604, implemented by following the directions for use and the rubrics for performance contained in the Prayer Book, together with contemporary descriptions of worship and our own reflections on the spaces available for worship in St Paul’s Cathedral and other sites for worship. These digital modeling tools also enable us to experience historically faithful recreations of worship services conducted in the Cathedral. These tools enable us to integrate the physical traces of preFire St Paul’s Cathedral with the surviving visual record of the cathedral and its surroundings to create a visual model of the Cathedral and its churchyard. Here, they are used to recreate the visual and acoustic properties of spaces that have not existed for hundreds of years. These digital tools are customarily used by architects and designers to anticipate the visual and acoustic properties of spaces that are not yet constructed.
NCSU CRYSTAL MAKER FULL
The Virtual St Paul’s Cathedral Project helps us explore public worship and preaching in early modern London, enabling us to experience two full days of worship inside St Paul’s Cathedral as performances, as events unfolding in real time in the space in which they were originally performed and in the context of an interactive and collaborative occasion. To do this, the Project uses architectural modeling software and acoustic simulation software to give us access experientially to these particular events from the past – the services of worship at St Paul’s Cathedral in London on Easter Sunday 1624 and on the Tuesday after the First Sunday in Advent in 1625. The Church of England and the Reformation.The Churchyard pre- and post-Reformation.
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