The sound envelopes you and the notes melt into each other resulting in a seamless sensation of sensuous sound as though living in a cloud of warm beauty and total comfort. In a naturally pure acoustically designed space, sound resonates for several seconds with a slow but deliberate diminuendo of tone to an inaudible state, a long and steady decay into nothing. When a series of notes are produced in such an environment, there is a great and glorious overlapping and layering of sound. Rather than each note interrupting the previous one, it simply adds to the sound as the previous note begins its long decay. This means that a series of notes is not a simply a collection of individual sounds but, instead, becomes a harmonic event of several tones at one time with the most recent being the prominent one.
Thus music and performances take on an entirely different experience for the listeners in a natural acoustic environment. The music becomes warm, complete, deep, rich, and immensely satisfying aurally, and, at some level, perhaps even physically. There are few experiences as impacting as hearing great music in a pure environment, music in an unadulterated state, music for connection, for the melding of sound as it moves gracefully and artfully through musical lines. In such a world, the melodies act independently as lines while remaining absolutely congruent with all other sound around them, all in a joyful expression of polyphony and perfection.
But now I present the problem: where are the architectural spaces for such experiences? They are virtually gone in today's modern world. Like a rare book whose value diminishes to most people while treasured by a few, acoustically pure spaces are rapidly disappearing. The lovers of great choral and instrumental music are hindered by the lack of environments for expression of the music. In the marvelous musical Les Miserables, Fantine tells of the man who stayed by her side through the summer but was gone by Autumn. Such is the case of naturally pure acoustic environments. They once were by the side of great music, but, unlike the rising and the setting of the sun, they seem to be gone forever.
Sure there remain some usable spaces--recital halls, cathedrals, and a few specially designed auditoriums, but most new construction relies on sound enhancement via electronic amplification for its aural environment. Most community auditoriums and churches feel pressured or even driven to provide a space that rejects the old natural acoustical concept and replaces it with advanced technological electronic sound wizardry. Music, then, wisely responds in kind by building a performance that utilizes the amplification. Without the amplification, the music falls flat on ears that cannot adequately hear the total sound due to the space with which it is, in essence, competing. Cushioned seats, carpet, thick drapes, curtains, and even clothing on people add to the challenge of an environment which is destructive to acoustic performances or even verbal communication.
We now have the clash of two cultures--natural acoustics vs. electronic enhancement. The academic community as well as pockets of arts supporters continue to hold on to a rich heritage of great music that demands a natural space for its performance. Choral music, instrumental music, chamber music, symphonic music, solos, church music, and every form imaginable are desperately in need of natural space for the ideal expression of its genre. As individuals, ensembles, leaders, and musical artists of all types spend hours in preparation for a performance, it is likely that the physical place, in anticipation of an upcoming performance, is laughing hysterically at the hopelessness of the situation for the performers. Recognizing this problem, professional musicians who are spending a lifetime preparing for outstanding musical performances, experience great frustration at the lack of regard for their profession. As experts in their discipline, dedicated to excellence, loving their calling as musicians, they seek a forum to express that which is their life--performing outstanding music. But they need a place, a stage, a platform that will treat their gifts with dignity and will allow their expression to find full fruition.
Yet in spite of the need for natural acoustical space, a world has materialized in the last 60 years that recognizes the value of sound enhancement and has subsequently developed its own heritage, its own genres, and its own remarkable identity--that is the world of popular music and all the complexity that accompanies it. This is true in churches, communities, film, the recording industry, and for anyone willing to recognize the vast potential of the electronic industry as it relates to music and sound enhancement. For others holding on to an older model out of sheer devotion to music in its unadulterated state, there is but a slim opportunity for performance. Related to this are the small opportunities for the creative geniuses who prefer to compose music for acoustical instruments and to hear their music in a natural environment.
There are, however, several solutions to solving these problems provided people are willing to compromise a little, bend on their original ideals, and support more inclusivity of multiple musical concepts. Auditoriums have been designed and should continue to be designed as spaces for both natural acoustics and electronically enhanced sound. Musicians can consider the benefits of both approaches and can recognize the value of the heritage of music as well as current music for entertainment. Academically trained musicians should experiment with amplification for their product and the entertainment industry should seek out opportunities for natural performances with less reliance on electronic means. Music listeners and music lovers should seek out all kinds of music in all kinds of spaces, and leaders should strive for artistic expression rather than simply economic solvency.
Regardless of the philosophical clash, in the end the people will speak. At this point, the market for acoustically pure performances is very small and it could be time for the academic world to recognize this truth and try something new without sacrificing the old. Time will tell the story.
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