Theatre Design & Technology - Spring 2007 - 81

book
reviews
The book is interesting and does offer
some good advice. From my experiences, I did
not find any gross errors, only differences of
opinion. Perhaps that is a good thing. I would
consider using this text as a supplement in a basic course in technical production. I would not
use it as a primary resource.
Shan Ayers is associate professor of theatre
at Berea College, where he teaches theatre
design and production and designs scenery
and lighting for departmental productions.

Spaces Speak, Are You
Listening?
Experiencing Aural Architecture
by Barry Blesser and Linda-Ruth Salter;
Cambridge, MA, The MIT Press, 2006. 436 pp.
Cloth, $39.95.
Reviewed by Dave Tosti-Lane
I was excited to have the opportunity to read and review
this book, because I have long
been fascinated with spatial
acoustics. That fascination is
based partly in my work as
a sound designer, but it also
arises from endless battles
(infrequently won) to include
the aural behavior of rooms
into the early design phase of structures-even
for rooms such as classrooms and lecture halls
whose very purpose implies unassisted verbal
communication. Administrators and facilities
managers seem convinced that the laws of physics can be easily suspended when they conflict
with aesthetic or financial concerns.
Dr. Barry Blesser, a Fellow and past
president of the Audio Engineering Society, is
legendary in the field of digital audio as the inventor and developer of the first commercially
produced digital audio reverberation system,
the EMT-250, released in 1976. Blesser served
on the faculty of MIT for more than a decade,
teaching both electrical engineering and computer science. Dr. Linda-Ruth Salter, an interTHEATRE

80

DESIGN

&

disciplinary scholar of art, culture, space and
technology, teaches at the New England Institute
of Technology, where she focuses on the fine
and performing arts in their technology context.
Together, they bring an astonishing level of experience and study to the topic.
I found much of the book to be fascinating
and informative reading. With more than thirtyfive pages of references, it is clearly grounded in
a remarkable level of research. There are some
portions I found less immediately engaging, but
I would like to emphasize that I consider this
an important addition to the literature for sound
designers and for those considering renovation
or construction of a performance facility.
In his introduction, Blesser notes that the
authors have "chosen to explore the broad phenomenon of auditory spatial awareness without
regard to specific discipline, culture, or time
period." For much of the book, they succeed in
this endeavor. It begins with an engaging definition of the term "aural architecture" and then
launches into an extended discussion of auditory spatial awareness.
In that discussion, sound designers
will meet many old friends, ranging
from R. Murray Shafer's "soundscape" and "soundmarks" (think
aural equivalent to "landscape" and
"landmark") to the precedence effect, to the notion of the acoustic
arena and acoustic horizon. Sound
designers, along with other readers, will also discover unfamiliar but useful and
fascinating ideas, such as the use of echo-location for navigation by the visually impaired.
Next, the authors turn to a review and
tour of the aural aspects of spaces ranging, as
the chapter title suggests, "from Prehistory to
the Present." This is a tall order to manage in
around sixty pages, but they do a good job of
hitting the high points. As noted, there are an
unusually large number of references sprinkled
(in some places liberally poured) throughout
the text, so the reader wishing to dig deeper will
have a well-defined path to follow.
Moving on to what seems to me the central
focus of the work, the chapter on "Aural Arts
and Musical Spaces" gets down to the brass

TECHNOLOGY
SPRING

2007

tacks of how spaces influence perception and
performance of music. This chapter was somewhat slow reading for me, not because of disinterest-quite the contrary-I found myself
reading and re-reading paragraphs because of
the density of information. Most interesting was
the notion that placing an instrument in an enclosure (i.e., a room) essentially transforms the
instrument-enclosure pair into what the authors
refer to as a "meta-instrument," with properties
that are essentially different from those of the
instrument alone.
From this point, the authors launch into a
chapter titled "Inventing Virtual Spaces for Music." There is much discussion of experimental
music and experimental performance spaces
that is quite fascinating. Less fascinating for me,
though still engaging, was the discussion of the
creation of virtual performance spaces-spaces not modeled on "real" locations that the authors suggest need not behave as real spaces as
long as their behavior is designed to fit an artistic purpose. It is an interesting discussion, but I
confess a preference for spaces I can physically
experience without the need for virtual reality
hardware.
"Scientific Perspectives on Spatial Acoustics" is the next chapter, and the title should give
warning that we are entering denser waters. As
with the chapter on music spaces, this is not
light reading. There is a great deal here that is
useful, and some that I found less useful. I suspect I will return to this chapter as a reference
work in years to come, and I know I will follow
up some of the references to better understand
the thrust.
The final two chapters of the book I found
both difficult going and less engaging. Perhaps
that is because they seem to turn more to the
nature of the research than to the actual experience of auditory space. "Spatial Innovators and
Their Private Agendas" sounds a bit more controversial than it turns out to be. There is some
historical discussion of groups working in the
trenches of acoustics and experimental music
and spaces, and much discussion of the nature
of research into perceptions in general and auditory perception in particular. "Auditory Spatial Awareness as Evolutionary Artifact" seems



Table of Contents for the Digital Edition of Theatre Design & Technology - Spring 2007

Contents
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