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This chapter describes the theory of subjective preference for the sound field applied to designing concert halls. Special attention is paid to the process of obtaining scientific results, rather than only describing a final design method. Attention has also been given to enhancing satisfaction in the selection of the most preferred seat for each individual in a given hall. We begin with a brief historical review of concert hall acoustics and related fields since 1900.

A neurally grounded theory of subjective preference for the sound field in a concert hall, based on a model of the human auditory–brain system, is described []. Most generally, subjective preference itself is regarded as a primitive response of a living creature and entails judgments that steer an organism in the direction of maintaining its life. Brain activities relating to the scale value of subjective preference, obtained by paired-comparison tests, have been determined. The model represents , relating the autocorrelation function (ACF) mechanism and the interaural cross-correlation function (IACF) mechanism for signals arriving at the two ear entrances. The representations of ACF have a firm neural basis in the temporal patterning signal at each of the two ears, while the IACF describes the correlations between the signals arriving at the two ear entrances. Since Helmholtz, it has been well appreciated that the cochlea carries out a rough spectral analysis of sound signals. However, by the use the of the spectrum of an acoustic signal, it was hard to obtain factors or cues to describe subjective responses directly. The auditory representations from the cochlea to the cortex that have been found to be related to subjective preference in a deep way involve these temporal response patterns, which have a very different character from those related to power spectrum analyses. The scale value of subjective preference of the sound field is well described by four orthogonal factors. Two are temporal factors (the initial delay time between the direct sound and the first reflection, Δ, and the reverberation time, ) associated with the left cerebral hemisphere, and two are spatial factors [the binaural listening level (LL) and the magnitude of the IACF, the IACC] associated with the right hemisphere. The theory of subjective preference enables us to calculate the acoustical quality at any seat in a proposed concert hall, which leads to a seat selection system.

The temporal treatment enables musicians to choose the music program and/or performing style most suited to a performance in a particular concert hall. Also, for designing the stage enclosure for music performers, a temporal factor is proposed. Acoustical quality at each seating position examined in a real hall is confirmed by both temporal and spatial factors.

This chapter describes the theory of subjective preference for the sound field applied to designing concert halls. Special attention is paid to the process of obtaining scientific results, rather than only describing a final design method. Attention has also been given to enhancing satisfaction in the selection of the most preferred seat for each individual in a given hall. We begin with a brief historical review of concert hall acoustics and related fields since 1900.

A neurally grounded theory of subjective preference for the sound field in a concert hall, based on a model of the human auditory–brain system, is described []. Most generally, subjective preference itself is regarded as a primitive response of a living creature and entails judgments that steer an organism in the direction of maintaining its life. Brain activities relating to the scale value of subjective preference, obtained by paired-comparison tests, have been determined. The model represents , relating the autocorrelation function (ACF) mechanism and the interaural cross-correlation function (IACF) mechanism for signals arriving at the two ear entrances. The representations of ACF have a firm neural basis in the temporal patterning signal at each of the two ears, while the IACF describes the correlations between the signals arriving at the two ear entrances. Since Helmholtz, it has been well appreciated that the cochlea carries out a rough spectral analysis of sound signals. However, by the use the of the spectrum of an acoustic signal, it was hard to obtain factors or cues to describe subjective responses directly. The auditory representations from the cochlea to the cortex that have been found to be related to subjective preference in a deep way involve these temporal response patterns, which have a very different character from those related to power spectrum analyses. The scale value of subjective preference of the sound field is well described by four orthogonal factors. Two are temporal factors (the initial delay time between the direct sound and the first reflection, Δ, and the reverberation time, ) associated with the left cerebral hemisphere, and two are spatial factors [the binaural listening level (LL) and the magnitude of the IACF, the IACC] associated with the right hemisphere. The theory of subjective preference enables us to calculate the acoustical quality at any seat in a proposed concert hall, which leads to a seat selection system.

The temporal treatment enables musicians to choose the music program and/or performing style most suited to a performance in a particular concert hall. Also, for designing the stage enclosure for music performers, a temporal factor is proposed. Acoustical quality at each seating position examined in a real hall is confirmed by both temporal and spatial factors.

This chapter describes the theory of subjective preference for the sound field applied to designing concert halls. Special attention is paid to the process of obtaining scientific results, rather than only describing a final design method. Attention has also been given to enhancing satisfaction in the selection of the most preferred seat for each individual in a given hall. We begin with a brief historical review of concert hall acoustics and related fields since 1900.

A neurally grounded theory of subjective preference for the sound field in a concert hall, based on a model of the human auditory–brain system, is described []. Most generally, subjective preference itself is regarded as a primitive response of a living creature and entails judgments that steer an organism in the direction of maintaining its life. Brain activities relating to the scale value of subjective preference, obtained by paired-comparison tests, have been determined. The model represents , relating the autocorrelation function (ACF) mechanism and the interaural cross-correlation function (IACF) mechanism for signals arriving at the two ear entrances. The representations of ACF have a firm neural basis in the temporal patterning signal at each of the two ears, while the IACF describes the correlations between the signals arriving at the two ear entrances. Since Helmholtz, it has been well appreciated that the cochlea carries out a rough spectral analysis of sound signals. However, by the use the of the spectrum of an acoustic signal, it was hard to obtain factors or cues to describe subjective responses directly. The auditory representations from the cochlea to the cortex that have been found to be related to subjective preference in a deep way involve these temporal response patterns, which have a very different character from those related to power spectrum analyses. The scale value of subjective preference of the sound field is well described by four orthogonal factors. Two are temporal factors (the initial delay time between the direct sound and the first reflection, Δ, and the reverberation time, ) associated with the left cerebral hemisphere, and two are spatial factors [the binaural listening level (LL) and the magnitude of the IACF, the IACC] associated with the right hemisphere. The theory of subjective preference enables us to calculate the acoustical quality at any seat in a proposed concert hall, which leads to a seat selection system.

The temporal treatment enables musicians to choose the music program and/or performing style most suited to a performance in a particular concert hall. Also, for designing the stage enclosure for music performers, a temporal factor is proposed. Acoustical quality at each seating position examined in a real hall is confirmed by both temporal and spatial factors.

This chapter describes the theory of subjective preference for the sound field applied to designing concert halls. Special attention is paid to the process of obtaining scientific results, rather than only describing a final design method. Attention has also been given to enhancing satisfaction in the selection of the most preferred seat for each individual in a given hall. We begin with a brief historical review of concert hall acoustics and related fields since 1900.

A neurally grounded theory of subjective preference for the sound field in a concert hall, based on a model of the human auditory–brain system, is described []. Most generally, subjective preference itself is regarded as a primitive response of a living creature and entails judgments that steer an organism in the direction of maintaining its life. Brain activities relating to the scale value of subjective preference, obtained by paired-comparison tests, have been determined. The model represents , relating the autocorrelation function (ACF) mechanism and the interaural cross-correlation function (IACF) mechanism for signals arriving at the two ear entrances. The representations of ACF have a firm neural basis in the temporal patterning signal at each of the two ears, while the IACF describes the correlations between the signals arriving at the two ear entrances. Since Helmholtz, it has been well appreciated that the cochlea carries out a rough spectral analysis of sound signals. However, by the use the of the spectrum of an acoustic signal, it was hard to obtain factors or cues to describe subjective responses directly. The auditory representations from the cochlea to the cortex that have been found to be related to subjective preference in a deep way involve these temporal response patterns, which have a very different character from those related to power spectrum analyses. The scale value of subjective preference of the sound field is well described by four orthogonal factors. Two are temporal factors (the initial delay time between the direct sound and the first reflection, Δ, and the reverberation time, ) associated with the left cerebral hemisphere, and two are spatial factors [the binaural listening level (LL) and the magnitude of the IACF, the IACC] associated with the right hemisphere. The theory of subjective preference enables us to calculate the acoustical quality at any seat in a proposed concert hall, which leads to a seat selection system.

The temporal treatment enables musicians to choose the music program and/or performing style most suited to a performance in a particular concert hall. Also, for designing the stage enclosure for music performers, a temporal factor is proposed. Acoustical quality at each seating position examined in a real hall is confirmed by both temporal and spatial factors.

This chapter describes the theory of subjective preference for the sound field applied to designing concert halls. Special attention is paid to the process of obtaining scientific results, rather than only describing a final design method. Attention has also been given to enhancing satisfaction in the selection of the most preferred seat for each individual in a given hall. We begin with a brief historical review of concert hall acoustics and related fields since 1900.

A neurally grounded theory of subjective preference for the sound field in a concert hall, based on a model of the human auditory–brain system, is described []. Most generally, subjective preference itself is regarded as a primitive response of a living creature and entails judgments that steer an organism in the direction of maintaining its life. Brain activities relating to the scale value of subjective preference, obtained by paired-comparison tests, have been determined. The model represents , relating the autocorrelation function (ACF) mechanism and the interaural cross-correlation function (IACF) mechanism for signals arriving at the two ear entrances. The representations of ACF have a firm neural basis in the temporal patterning signal at each of the two ears, while the IACF describes the correlations between the signals arriving at the two ear entrances. Since Helmholtz, it has been well appreciated that the cochlea carries out a rough spectral analysis of sound signals. However, by the use the of the spectrum of an acoustic signal, it was hard to obtain factors or cues to describe subjective responses directly. The auditory representations from the cochlea to the cortex that have been found to be related to subjective preference in a deep way involve these temporal response patterns, which have a very different character from those related to power spectrum analyses. The scale value of subjective preference of the sound field is well described by four orthogonal factors. Two are temporal factors (the initial delay time between the direct sound and the first reflection, Δ, and the reverberation time, ) associated with the left cerebral hemisphere, and two are spatial factors [the binaural listening level (LL) and the magnitude of the IACF, the IACC] associated with the right hemisphere. The theory of subjective preference enables us to calculate the acoustical quality at any seat in a proposed concert hall, which leads to a seat selection system.

The temporal treatment enables musicians to choose the music program and/or performing style most suited to a performance in a particular concert hall. Also, for designing the stage enclosure for music performers, a temporal factor is proposed. Acoustical quality at each seating position examined in a real hall is confirmed by both temporal and spatial factors.

This chapter describes the theory of subjective preference for the sound field applied to designing concert halls. Special attention is paid to the process of obtaining scientific results, rather than only describing a final design method. Attention has also been given to enhancing satisfaction in the selection of the most preferred seat for each individual in a given hall. We begin with a brief historical review of concert hall acoustics and related fields since 1900.

A neurally grounded theory of subjective preference for the sound field in a concert hall, based on a model of the human auditory–brain system, is described []. Most generally, subjective preference itself is regarded as a primitive response of a living creature and entails judgments that steer an organism in the direction of maintaining its life. Brain activities relating to the scale value of subjective preference, obtained by paired-comparison tests, have been determined. The model represents , relating the autocorrelation function (ACF) mechanism and the interaural cross-correlation function (IACF) mechanism for signals arriving at the two ear entrances. The representations of ACF have a firm neural basis in the temporal patterning signal at each of the two ears, while the IACF describes the correlations between the signals arriving at the two ear entrances. Since Helmholtz, it has been well appreciated that the cochlea carries out a rough spectral analysis of sound signals. However, by the use the of the spectrum of an acoustic signal, it was hard to obtain factors or cues to describe subjective responses directly. The auditory representations from the cochlea to the cortex that have been found to be related to subjective preference in a deep way involve these temporal response patterns, which have a very different character from those related to power spectrum analyses. The scale value of subjective preference of the sound field is well described by four orthogonal factors. Two are temporal factors (the initial delay time between the direct sound and the first reflection, Δ, and the reverberation time, ) associated with the left cerebral hemisphere, and two are spatial factors [the binaural listening level (LL) and the magnitude of the IACF, the IACC] associated with the right hemisphere. The theory of subjective preference enables us to calculate the acoustical quality at any seat in a proposed concert hall, which leads to a seat selection system.

The temporal treatment enables musicians to choose the music program and/or performing style most suited to a performance in a particular concert hall. Also, for designing the stage enclosure for music performers, a temporal factor is proposed. Acoustical quality at each seating position examined in a real hall is confirmed by both temporal and spatial factors.

This chapter describes the theory of subjective preference for the sound field applied to designing concert halls. Special attention is paid to the process of obtaining scientific results, rather than only describing a final design method. Attention has also been given to enhancing satisfaction in the selection of the most preferred seat for each individual in a given hall. We begin with a brief historical review of concert hall acoustics and related fields since 1900.

A neurally grounded theory of subjective preference for the sound field in a concert hall, based on a model of the human auditory–brain system, is described []. Most generally, subjective preference itself is regarded as a primitive response of a living creature and entails judgments that steer an organism in the direction of maintaining its life. Brain activities relating to the scale value of subjective preference, obtained by paired-comparison tests, have been determined. The model represents , relating the autocorrelation function (ACF) mechanism and the interaural cross-correlation function (IACF) mechanism for signals arriving at the two ear entrances. The representations of ACF have a firm neural basis in the temporal patterning signal at each of the two ears, while the IACF describes the correlations between the signals arriving at the two ear entrances. Since Helmholtz, it has been well appreciated that the cochlea carries out a rough spectral analysis of sound signals. However, by the use the of the spectrum of an acoustic signal, it was hard to obtain factors or cues to describe subjective responses directly. The auditory representations from the cochlea to the cortex that have been found to be related to subjective preference in a deep way involve these temporal response patterns, which have a very different character from those related to power spectrum analyses. The scale value of subjective preference of the sound field is well described by four orthogonal factors. Two are temporal factors (the initial delay time between the direct sound and the first reflection, Δ, and the reverberation time, ) associated with the left cerebral hemisphere, and two are spatial factors [the binaural listening level (LL) and the magnitude of the IACF, the IACC] associated with the right hemisphere. The theory of subjective preference enables us to calculate the acoustical quality at any seat in a proposed concert hall, which leads to a seat selection system.

The temporal treatment enables musicians to choose the music program and/or performing style most suited to a performance in a particular concert hall. Also, for designing the stage enclosure for music performers, a temporal factor is proposed. Acoustical quality at each seating position examined in a real hall is confirmed by both temporal and spatial factors.

This chapter describes the theory of subjective preference for the sound field applied to designing concert halls. Special attention is paid to the process of obtaining scientific results, rather than only describing a final design method. Attention has also been given to enhancing satisfaction in the selection of the most preferred seat for each individual in a given hall. We begin with a brief historical review of concert hall acoustics and related fields since 1900.

A neurally grounded theory of subjective preference for the sound field in a concert hall, based on a model of the human auditory–brain system, is described []. Most generally, subjective preference itself is regarded as a primitive response of a living creature and entails judgments that steer an organism in the direction of maintaining its life. Brain activities relating to the scale value of subjective preference, obtained by paired-comparison tests, have been determined. The model represents , relating the autocorrelation function (ACF) mechanism and the interaural cross-correlation function (IACF) mechanism for signals arriving at the two ear entrances. The representations of ACF have a firm neural basis in the temporal patterning signal at each of the two ears, while the IACF describes the correlations between the signals arriving at the two ear entrances. Since Helmholtz, it has been well appreciated that the cochlea carries out a rough spectral analysis of sound signals. However, by the use the of the spectrum of an acoustic signal, it was hard to obtain factors or cues to describe subjective responses directly. The auditory representations from the cochlea to the cortex that have been found to be related to subjective preference in a deep way involve these temporal response patterns, which have a very different character from those related to power spectrum analyses. The scale value of subjective preference of the sound field is well described by four orthogonal factors. Two are temporal factors (the initial delay time between the direct sound and the first reflection, Δ, and the reverberation time, ) associated with the left cerebral hemisphere, and two are spatial factors [the binaural listening level (LL) and the magnitude of the IACF, the IACC] associated with the right hemisphere. The theory of subjective preference enables us to calculate the acoustical quality at any seat in a proposed concert hall, which leads to a seat selection system.

The temporal treatment enables musicians to choose the music program and/or performing style most suited to a performance in a particular concert hall. Also, for designing the stage enclosure for music performers, a temporal factor is proposed. Acoustical quality at each seating position examined in a real hall is confirmed by both temporal and spatial factors.

This chapter describes the theory of subjective preference for the sound field applied to designing concert halls. Special attention is paid to the process of obtaining scientific results, rather than only describing a final design method. Attention has also been given to enhancing satisfaction in the selection of the most preferred seat for each individual in a given hall. We begin with a brief historical review of concert hall acoustics and related fields since 1900.

A neurally grounded theory of subjective preference for the sound field in a concert hall, based on a model of the human auditory–brain system, is described []. Most generally, subjective preference itself is regarded as a primitive response of a living creature and entails judgments that steer an organism in the direction of maintaining its life. Brain activities relating to the scale value of subjective preference, obtained by paired-comparison tests, have been determined. The model represents , relating the autocorrelation function (ACF) mechanism and the interaural cross-correlation function (IACF) mechanism for signals arriving at the two ear entrances. The representations of ACF have a firm neural basis in the temporal patterning signal at each of the two ears, while the IACF describes the correlations between the signals arriving at the two ear entrances. Since Helmholtz, it has been well appreciated that the cochlea carries out a rough spectral analysis of sound signals. However, by the use the of the spectrum of an acoustic signal, it was hard to obtain factors or cues to describe subjective responses directly. The auditory representations from the cochlea to the cortex that have been found to be related to subjective preference in a deep way involve these temporal response patterns, which have a very different character from those related to power spectrum analyses. The scale value of subjective preference of the sound field is well described by four orthogonal factors. Two are temporal factors (the initial delay time between the direct sound and the first reflection, Δ, and the reverberation time, ) associated with the left cerebral hemisphere, and two are spatial factors [the binaural listening level (LL) and the magnitude of the IACF, the IACC] associated with the right hemisphere. The theory of subjective preference enables us to calculate the acoustical quality at any seat in a proposed concert hall, which leads to a seat selection system.

The temporal treatment enables musicians to choose the music program and/or performing style most suited to a performance in a particular concert hall. Also, for designing the stage enclosure for music performers, a temporal factor is proposed. Acoustical quality at each seating position examined in a real hall is confirmed by both temporal and spatial factors.

This chapter describes the theory of subjective preference for the sound field applied to designing concert halls. Special attention is paid to the process of obtaining scientific results, rather than only describing a final design method. Attention has also been given to enhancing satisfaction in the selection of the most preferred seat for each individual in a given hall. We begin with a brief historical review of concert hall acoustics and related fields since 1900.

A neurally grounded theory of subjective preference for the sound field in a concert hall, based on a model of the human auditory–brain system, is described []. Most generally, subjective preference itself is regarded as a primitive response of a living creature and entails judgments that steer an organism in the direction of maintaining its life. Brain activities relating to the scale value of subjective preference, obtained by paired-comparison tests, have been determined. The model represents , relating the autocorrelation function (ACF) mechanism and the interaural cross-correlation function (IACF) mechanism for signals arriving at the two ear entrances. The representations of ACF have a firm neural basis in the temporal patterning signal at each of the two ears, while the IACF describes the correlations between the signals arriving at the two ear entrances. Since Helmholtz, it has been well appreciated that the cochlea carries out a rough spectral analysis of sound signals. However, by the use the of the spectrum of an acoustic signal, it was hard to obtain factors or cues to describe subjective responses directly. The auditory representations from the cochlea to the cortex that have been found to be related to subjective preference in a deep way involve these temporal response patterns, which have a very different character from those related to power spectrum analyses. The scale value of subjective preference of the sound field is well described by four orthogonal factors. Two are temporal factors (the initial delay time between the direct sound and the first reflection, Δ, and the reverberation time, ) associated with the left cerebral hemisphere, and two are spatial factors [the binaural listening level (LL) and the magnitude of the IACF, the IACC] associated with the right hemisphere. The theory of subjective preference enables us to calculate the acoustical quality at any seat in a proposed concert hall, which leads to a seat selection system.

The temporal treatment enables musicians to choose the music program and/or performing style most suited to a performance in a particular concert hall. Also, for designing the stage enclosure for music performers, a temporal factor is proposed. Acoustical quality at each seating position examined in a real hall is confirmed by both temporal and spatial factors.