Investigation of the relationship between auditorium acoustic parameters and psychoacoustic perception criteria with orchestral music: Example of Elmia Concert hall

Psychoacoustics: It is a science born in the context of ancient Greek philosophy and art, music and human beings. However, music, like other branches of art, has not developed under the pressure of religion. Along with music, psychoacoustics is also on the verge of oblivion. Thanks to the return to philosophy and nature in the Renaissance, Baroque and Classical periods (Classicism), issues that have not seen the light of day for centuries have started to be discussed again. One of them is psychoacoustic. Thanks to the reduction of music to a level that can be reached by the public and the full realization of freedom of thought, psychoacoustic (auditory perception) has also begun to be re-examined. Since then, music has also developed psychoacoustically. Psychoacoustics is a science that exists almost everywhere there is sound. Volume acoustics, on the other hand, is a field that has been studied for nearly a century and is closely related to architectural acoustics and visual arts in general. The foundations of volume acoustics in indoor spaces were laid in the early 1900sby W. C. Sabine's Harvard University was kicked out by the work of the Fogg Museum of Art. Technological possibilities, evolving and expanding comfort needs have enabled the acoustic comfort parameter to stand out. It is a very new field of study and is developing rapidly. This thesis was conducted to investigate the relationship between objective volume acoustic parameters affected by spatial and temporal values and psychoacoustic perception criteria affecting auditory perception. Psychoacoustic perception criteria were collected from the unsystematic literature and evaluated in the context of volume acoustics. Two different methods of obtaining data were used within the scope of the thesis study: Theoretical and experimental study. Theoretical study was carried out through simulation in Elmia Concert Hall and Beethoven 7. Symphony Mov.1 an anechoic record of the department was used. Anecdotal records were taken separately on the basis of instruments and made audible by auralization after orchestra installation. The orchestra will perform on stage 20. Century was placed on the stage in the modern settlement plan. It is a chamber orchestra consisting of 20 instruments with bowed instruments. In the experimental study: The obtained anechoic records and data were surveyed with a specific group of participants. The questionnaire was prepared by examining the xx psychoacoustic perception criteria determined by taking into account musical sounds and similar previous studies. As in L. Beranek's 1962 book "Music, Acoustics & Architecture", it was made with a specific group of participants. Psychoacoustic perception criteria were evaluated in the context of theoretical and experimental results, and the relationship between them was examined and the connection between volume and human perception was investigated.