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CINEMATOGRAPHIC ANNUAL
it, especially in the larger theatres, by two different devices. The actors on the stage wore huge masks which not only exaggerated facial expressions so that they could be seen from the
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Curve showing the effect of loudness upon the reception of speech (taken from Fletcher's data). The dotted curve gives the percentage articulation at different loudness levels. The solid line curve gives the loudness reduction factor k\.
most distant seats, but also served to enhance the loudness of the voice by reason of the shapes of the masks which incorporated the principle of the megaphone. In addition, we are informed in the writings of Aristoxenus, a large number of bronze vessels, fashioned into resonators, were distributed in regularly spaced niches throughout the theatre. In large theatres there were three horizontal ranges of resonators at equally spaced vertical levels, with twelve resonators in each range. These resonators were all carefully tuned to resonate to the various notes of musical systems, for the purpose of emphasizing the more important frequency components of speech and music. One range of resonators was tuned for the anharmonic, another for the chromatic, and the third for the diatonic system. The actual merit of these resonators for enhancing the loudness and pleasing qualities of speech and music is rather difficult to assess, but it is doubtful that they were of any real