Heritage Acoustics

Acoustic heritage involves the acoustic properties of heritage sites, such as that of the York Guildhall. The term relates to the field of Archeoacoustics where the study of sound in archaeological contexts covers a multitude of disciplines ranging from ethnomusicology (study of music and culture) to computer modelling and simulation.

Auralisations allow us to hear audio through a heritage space and make conclusions about the sort of music played during that period. Examples of this can be in large cathedrals where contrapuntal music, that with many overlapping melodies, would become blurred and less defined, whereas homophonic music would blend much better in this space. This can help us piece together and understand the function of such spaces. Of course, churches, and cathedrals are commonly known as a place of worship, but applying this method of investigation to a place such as ‘Stonehenge’ can help piece together its rich history.

Acoustic modelling allows the prediction of refurbishments or reconstruction, such as St Margaret’s Church in York where the sound porch is the only surviving element from the 12th century original. With the nave being built in the 14th century, vestry in the 15th century and the tower rebuilt between 1684 and 1685, it is difficult to gather an idea of the original acoustic footprint. There was extensive restoration in the mid 19th century, opening in the year 2000 with redeveloped acoustic treatment. With acoustic modelling of a heritage space we are able to reconstruct the church’s original form and listen to audio as if it had never been changed.

Other projects that link to heritage acoustic in York are the I Hear Too project, and the previous Architexture II project.