During the Imperial Roman period, thousands of theatres were built. The theatres have three principal elements: the scene building (actor position), the orchestra and the cavea (spectator seating). The theatres were built without a roof, so they were open-air spaces. The theatres were abandoned afterward the barbarian invasions, and during the Middle Ages, homes were built inside the cavea. The theatres were rediscovered during the Renaissance period. Today, ancient theatres are the center of cultural events and are used for various kinds of shows. This work discussed the acoustics of the Roman theatre of Benevento, which was built during the Imperial Age. The theatre was destroyed after the barbaric invasion and it was rebuilt in the first half of the 1900s. The theatre was opened in 1957, and today it is the center of social and cultural activities. Acoustic measurements were carried out according to ISO 3382 standard, placing an omnidirectional sound source on the scene building and in the orchestra, with the measurement microphones along three directions in the cavea. The acoustic characteristics in various seating areas of the cavea were evaluated. Therefore, it possible to understand in which sectors of the theatre the acoustic characteristics are optimal for different types of theatrical performances.

The Byzantine churches built between the 7th and the 15th centuries represent an architectural typology that has been developed along with other architectural styles. The evolution of the interior organization, to be composed of only a single nave for the oldest architecture and then developed with additional lateral naves, is one of the multiple aspects that characterizes this building type, studied mainly from an architectural perspective. The variety of roof morphology, being flat, double slope, vaulted or domed, contributes to determining the overall acoustics. This paper deals with the analysis of the acoustic characteristics related to five Byzantine churches located in Albania, specifically in Berat and Cete. A comparison of the impulse response (IR) measured inside each church was given by analyzing the most appropriate acoustic parameters and in line with ISO 3382. The acoustic surveys were undertaken with a minimal furniture and without any audience. The results highlight small difficulties in terms of speech understanding, especially under a speech clarity index found to be below the optimal range limit. This shortfall is attributed to the geometry of the volumes and to the reflecting materials applied to the surfaces that facilitate the build-up of sound energy.

The Ottoman mosques of the 15th and 16th centuries represent an architectural typology that has been replicated in territories out of the Middle East for as long as Islam spread its influence on other countries. This paper deals with the determination of the acoustic properties inside a few Ottoman mosques located in different cities of Albania, specifically in Elbasan, Berat, Kavaja, Tirana and Shkodra. A comparison between the prayer rooms of these five mosques has been undertaken in terms of the main acoustic parameters by following the standard requirements outlined in ISO 3382-1. The architectural characteristics of the single-unit mosques chosen for this research study are determined by the domed-square musalla, which has a comparable volume size among all five mosques. Results gathered by the acoustic measurements undertaken in unoccupied conditions highlight an overall lack of speech understanding given the values of some acoustic parameters fairly acceptable. This outcome is justified by the geometrical configuration, worsened by the presence of a dome that creates a focusing effect of the sound rays, and by the reflecting finish materials applied to walls and roof that facilitate the build-up defect of echoes.

The discovery of Roman amphitheaters continues to excite the minds of archaeologists. Within the framework of various excavation campaigns, the architectural requalification of the amphitheater of Durres has been investigated, but no acoustic analyses have yet been carried out. This paper deals with the acoustic reconstruction of the Roman amphitheater of Durres in its original form. A campaign of acoustic measurements was carried out in accordance with ISO 3382 in order to understand the existing conditions, which are very detrimental to any type of live performance. After an accurate analysis of the geometric composition of the building, acoustic simulations were performed to determine the original acoustic response of the building. A comparison of the measured and simulated results, with and without an audience, was made in terms of the main acoustic parameters, while the acoustic map showing the spatial distribution of speech clarity at 1 kHz was added as an alternative way of representing the data. The outcomes show that the results related to the original shape are closer to the optimal values than the existing conditions.

This paper deals with the measured values of the acoustic absorbing coefficient related to some materials employed into complex casing structures under architectural and geometrical perspective. The analyzed materials are composed of PVC sheets or of sound absorbing melamine tested inside an impedance tube modified for this purpose. The materials are suspended such that the acoustic absorption is due only to the vibration of the material subject to the incident soundwave. This process has been executed by substituting the rigid and smooth end cap of the tube with another anechoic that simulates the behavior of the air at the back of the suspended material. The outcomes of the measurements have been reported in the frequency bands comprised between 200 Hz and 2 kHz. On this basis, the results can be utilized as input data of the software employed for the acoustic simulations of the room volumes that are intended to be designed.

Opera houses are often used as concert halls with the use of a temporary acoustic shell set on stage. In most cases, the shell shape and its position in the fly tower are decided by theatre technicians, after evaluating the concert programme and considering the conductor and the musicians’ requests, without being supported by an acoustic analysis. This paper describes the acoustic shell influence on the acoustic field of a baroque theatre when changing its dimensions and the orchestra staff, with and without the choir, when the theatre is used as a concert hall. The “Opera di Roma” case study is presented, and the main acoustic parameters’ trends and their sensitivity are analyzed. The shell layout optimization, which is suggested in the prediction analysis of the case study, does not coincide with the ones preferred by the musicians. The main reasons for this controversial result are explained in the paper, underlining the rules determining the musicians’ opinions during the acoustic design and/or analysis process, to better focalize the applied acoustics activities.