References and colleagues

** Project team members

Benegal, Hope. Musical taste and concert hall design, Proceedings of the Royal Music Association 1951.

Beranek, Leo, Concert hall acoustics: Recent findings. Journal of the Acoustical Society of America, 139, 1548 (2016).

** Berger, Talya. Varia Musica Sacra: Sacred Music from Palazzo Altemps. 2020 La Società Editrice di Musicologia (SEdM) in press.

Bonsi, Davide. "Acoustic and audience response analyses of eleven Venetian churches” The Journal of the Acoustical Society of America 123, 3353 (2008);

** Boren, B. et al.“Acoustic simulations of renaissance Venetian churches. Acoustics in Practice, 1:2, 2013.

** Canfield-Dafilou, Elliot K. and Callery, Eoin F. and Abel, Jonathan S. and Berger, Jonathan. A Method for studying interactions between music performance and rooms with real-time virtual acoustics. Audio Engineering Society 146, 2019.

Dart, Thurston, The Interpretation of Music, Random House, 1962.

Debertolis, Paolo,  F. Coimbra and L. Eneix. Archaeoacoustic analysis of the Hal Saflieni Hypugeum in Malta. Journal of Antrhopology and Arcaeology. Vol. 3 no. 1. pp 59-79. (2015)

** Hackett, R. I. J, Sound, Music, and the Study of Religion. Temenos - Nordic Journal of Comparative Religion, 48(1), 2012.

Deborah Howard & Laura Moretti, Sound and Space in Renaissance Venice: Architecture, Music, Acoustics, Yale University Press, 2009 

Gable, Frederick.  St  Gertrude's Chapel, Hamburg, and the Performance of Polychoral Music. Early Music , May, 1987, Vol. 15, No. 2, (May, 1987), pp. 229-241

Guillebaud, Christine, and Catherine Lavandier. Worship Sound Spaces: Architecture, Acoustics and Anthropology. Routledge,  2020. 

Kircher, A. Phonorgia Nova, 1673.

** Kolar, M., "Situating Inca Sonics:Experimental Music Archaeology at Huánuco Pampa,Peru," in Flower World – Music Archaeology of theAmericas, vol.6, ed. Matthias Stöckli and Mark Howell(Berlin: Ekho Verlag, 2020), 13-46.

** Kolar, M.,  Covey, and Coronei.The Huánuco Pampa Acoustical Field Survey: An Efficient, Comparative Archaeoacoustical Method for Studying Sonic Communication Dynamics. Heritage Science 6/39. (2018)

Lacatism R. et al. Historical and chronological evolution of the concert hall acoustic parameters. Proceedings of the Acoustics’08 conference, pp. 2152-2156, Paris, 2008.

McClymond, Kathryn, Listening for religious diversity: The Religious Sounds Map Project and ATL Maps, Atlantic Studies, Sept 2017.

** Pentcheva, B. and Jonathan Abel, Icons of Sound: auralizing the lost voice of Hagia Sophia. Speculum, 2017, pp 336-360.

Reznikoff, I. Sound resonance in prehistoric times: A study of Paleolithic painted caves and rocks.  Proceedings of the Acoustics’08 conference, pp.4138-41400, Paris, 2008.

Sigismondo, G. Descrizione della citta di Napoli e suoi borghi. Presso I Fratelli Terres, 1788

Tallon, A. “Acoustics at the Intersection of Architecture and Music:  The Caveau Phonocamptique of Noyon Cathedral” Journal of the Society of Architectural Historians 75:3 (2016).. 

Tronchin, L.  The 'Phonurgia Nova' of Athanasius Kircher: The Marvellous sound world of 17th century, in Proceding in Meetings on Acoustics. 4 (2008)

Tromchin, L. and David Knight. Revisiting Historic Buildings through the Senses Visualising Aural and Obscured Aspects of Sna Vitale, Ravenna. International Journal of Historical Arcaeology. Vol 20, no. 1 pp 127-145 (2016).

W. Woszczyk, D. Ko, and B. Leonard, “Virtual Acoustics at the Service of Music Performance and Recording,” Archives of Acoustics, pp. 1–5, Mar. 2012. 

Allied research groups

EMAP - The European Music Archeology Project 

International Study Group on Music Archeology (ISGMA)

SCReAM - The Scalable Room Acoustics Modelling project

SBRG - The Superbrain Research Group -  Trentino, Italy

© Stanford University. 2021