In May 2010 the plans for Malmö’s new Concert Hall, Conference Centre and Hotel were announced publically. The purpose of this thesis was to present strategy for communication in order to gain approval for the new concert and conference center from the inhabitants inMalmö and to incorporate the use of it in their everyday life. Material from the receiver’s as well as the sender’s perspective has been collected from qualitative interviews. Through group interviews we have investigated the general consensus of the inhabitants of Malmö regarding the investment, placing, offered events, expectations as well as how they collected information. We have interviewed two persons from the expert group working with the project, in order to define a target group for the communication work and to formulate a concrete message. Finally, we have interviewed a person at Uppsala Konsert Kongress, to collect his conclusions and perspective from the communication processes surrounding the opening. The material has been evaluated continuously and analyzed  in relation to theories such as the Agenda Setting theory and Rogers’ Diffusion of innovations, explaining how individuals in a society react to an innovation. Our collected data has been put in relation to these theories, complemented by earlier research about image building and communication planning. Our analysis has given us a number of important values that will be vital in the communication process. The sender has to emphasize the variation in the events they offer to the public, as well as the fact that the centre will be a place for people to meet and exchange cultural values. The receivers also wish for these aspects. The target-group consists of all the inhabitants in Malmö, and has a wide diversity which puts pressure on the communicator to adjust message and communication channels according to the composition of the city. As a result of our research we present a strategy for effective communication actions, including the importance of face-to-face communication, feedback and media relations.

<p>In May 2010 the plans for Malmö’s new Concert Hall, Conference Centre and Hotel were announced publically. The purpose of this thesis was to present strategy for communication in order to gain approval for the new concert and conference center from the inhabitants inMalmö and to incorporate the use of it in their everyday life.</p><p>Material from the receiver’s as well as the sender’s perspective has been collected from qualitative interviews. Through group interviews we have investigated the general consensus of the inhabitants of Malmö regarding the investment, placing, offered events, expectations as well as how they collected information. We have interviewed two persons from the expert group working with the project, in order to define a target group for the communication work and to formulate a concrete message. Finally, we have interviewed a person at Uppsala Konsert Kongress, to collect his conclusions and perspective from the communication processes surrounding the opening.</p><p>The material has been evaluated continuously and analyzed  in relation to theories such as the Agenda Setting theory and Rogers’ Diffusion of innovations, explaining how individuals in a society react to an innovation. Our collected data has been put in relation to these theories, complemented by earlier research about image building and communication planning.</p><p>Our analysis has given us a number of important values that will be vital in the communication process. The sender has to emphasize the variation in the events they offer to the public, as well as the fact that the centre will be a place for people to meet and exchange cultural values. The receivers also wish for these aspects. The target-group consists of all the inhabitants in Malmö, and has a wide diversity which puts pressure on the communicator to adjust message and communication channels according to the composition of the city.</p><p>As a result of our research we present a strategy for effective communication actions, including the importance of face-to-face communication, feedback and media relations.</p>

Εξετάζονται οι μελέτες τεσσάρων ελληνικών θεατρικών αιθουσών τόσο υπολογιστικά όσο και με αναλυση ηλεκτροακουστικών μετρήσεων κρουστικής απόκρισης. Εξάγονται επιμέρους και συγκριτικά συμπεράσματα. / The sound design of four theatre sound installations are examined. E.A.S.E. electroacoustic simulation results are presenteed.The final electrocoustic impulse response measurments of installed systems are presented and examined in correlation to the simulation results

Thesis focuses on designing concert hall in the city of Brno in a district called Brno-město. The main space is the concert hall with 540 seats. The aim was to design a representative building which fulfills all requirements for this typographic public building and where the linkage of beauty and functionality is undeniable a part of the proposal.The proposal is trying to connect architecture with music together. This was achieved by designing dynamic façade with segments which are rhythmically in a movement. The character of the concert hall is stressed by artwork by Alexander Caldera at the main entrance. The emphasis has been put on preserving conceptual idea in the final design since the beginning.

Theme of diploma thesis is „Music scene“ - a concert hall for city of Brno. Thesis consists of architectural study of concert hall including foyer, functional and service spaces. Capacity of Hall is 724 spectators divided in three floors of auditorium and can host up to 85 of orchestral musicians and 50 members of choir. Concept makes architectural study, which respect surrounding buildings but creates interesting space.

An assignment of diploma thesis was to design a concert hall for Brno Philharmonic. Ten years ago, an architectural competition was held to design Janáček cultural centre on a plot between the streets Veselá and Besední. The winning project was simplified and divided into two parts (underground parking and concert hall). My proposal is based on the planned parking, which finally begins to build in 2015. Shape of the house respects the surrounding buildings. My aim was create the building, which would be functional, urban, beautiful and more economical than the winning project.

The subject of this thesis is the design documentation for three floor object with basement. Object art school includes a concert hall. The object is located in Zábřeh and will be built in existing buildings in the city center. The building will be used for teaching and training of 500 pupils, the concert hall is for 100 visitors and 30 performers. In the basement there is a technical background - boiler room and utility room, dancing hall with accessories and several classrooms. On the first floor there is room for ventilation, facilities for pupils and their parents, dressing room, classroom for orchestr, which includes a recording studio, classroom for drums and several classrooms for the solo instrument. The Concert Hall is also located on first floor and is divided into two parts. Part for visitors, where is located treasury, foyer, dressing room and concert hall. In the part for performers are separate changing rooms and kitchen. The second floor is partially defined by the school management - there are director's office, secretariat, staff room, day room for teachers and classrooms. The third floor will serve particularly dramatic and visual department, there will be six classrooms for solo instrument or singing. Art School has three main entrances - entry to school, entrance to the concert hall for visitors and a separate one for acting. Facilities for performers is connected to the testing orchestral playing. The land is gently sloping toward the southeast. In all parts of the school will be shed roof with slight slope.

From the very beginning of cinema, music always played an important role in the history of filmmaking. Nonetheless, film music is judged by critics as a kind of low-grade art form. However, the majority of film score composers enjoyed a classical education and composed as well for the silver screen as for the concert hall. Film music also has its roots in the musical era of romanticism. Therefore, symphonic film scores can be regarded as program music in a broader sense. These scores were influenced by a motion picture instead of a poem, a landscape, or a painting. It is neither necessary nor supposed that film music must be subordinate to its belonging film. In fact, a well-written film score may enhance the impact of a film by using its own language—the language of music. Film music is still not truly recognized as an own style of music which is to be performed regularly in a concert hall. There are still strong prejudices about film music—too nice, too industrial, full of clichés, and unworthy to be performed live by an orchestra. This book wants to explore the nature of film music and its relation to classical music in this volume. How is film music perceived today? Does film music have its place on its own—uncoupled from its original film—in the concert hall? And how does film music relate to other musical genres in the 19th and 20th century? With contributions by Emilio Audissino, Marco Cosci, Kristjan Järvi, Irena Paulus, Gene Pritsker, Jaume Radigales, Lorenzo Sorbo, Sebastian Stoppe, and Pascal Vandelanoitte.:Sebastian Stoppe : Film Music in Concert: Introduction Sebastian Stoppe : Film Composing between Art and Business Emilio Audissino : Overruling a Romantic Prejudice: Film Music in Concert Programs Jaume Radigales : Wagner’s Heritage in Cinema: The Bernard Herrmann Case Irena Paulus : Williams versus Wagner — Or an Attempt at Linking Musical Epics Emilio Audissino : Golden Age 2.0: John Williams and the Revival of the Symphonic Film Score Gene Pritsker: On Film Music in the 21st Century Kristjan Järvi : “A Soundtrack to Our Lives...” Gene Pritsker : Composing Cloud Atlas Symphony Lorenzo Sorbo : The Dramatic Functions of Italian Spaghetti Western Soundtracks: A Comparison between Ennio Morricone and Francesco De Masi Marco Cosci : Musical Labyrinths in Time: Alain Resnais’ L’Année dernière à Marienbad Pascal Vandelanoitte : Ludwig: Consonant Music in a Dissonant Life Contributors

Galärvarvet är på många sätt en utmärkt plats för en ny och framträdande kulturbyggnad i Stockholm. Samtidigt utgöt operans komplexa och omfattande program en stor utmaning. I detta projekt löses konflikten mellan program och plats meddels en långsmal byggnad som bevarar naturvärden och rörelsemönster. / Galarvarvet is in many ways an great site for a new and prominent cultural building in Stockholm. At the same time the complexity and size of the program of an opera poses a great challenge. In this project the conflict between program and site is solved with a stretched out building that preserves environmental values and movements.

The Brno Philharmonic is renowned all over the world from London to Tokyo, but in its home town only has a small hall with poor acoustics not suitable for symphony concerts. The efforts to construct a worthy cultural venue to meet the needs of Brno go back to the interwar period and their implementation is still not in sight.The core of the project is a concert hall with capacity of 1,812. Its layout combines the advantages of standard shoebox-shaped halls and surround halls, because the best music experience gets the viewer who is quite close to the orchestra. The disadvantages of the former include poor contact with the orchestra in the rear seating, the latter sacrifice acoustical excellence mainly in the side and rear seating areas for audience proximity and visual stimulation. The building is composed of three functionally distinct parts: the audience’s part, musicians‘ background and technical equipment. The operation of each is placed in a horizontal part of a L-shaped solid. The vertical parts face each other creating a raised central cube containing the concert hall.