Modern sound engineers have worked marvels of clear acoustics. But have they made too much of a good thing? The question was raised after London's Royal Festival Hall was completed four years ago, and it came up again after the first concerts in the new concrete-domed Kresge Auditorium at the Massachusetts Institute of Technology (TIME, June 29, 1953). "The sensation," wrote Boston Herald Critic Rudolph Elie, after a Boston Symphony concert, "is thrilling to the last degree." But he called the hall "acoustically naked," pointed out that a "creaking shoe, a blow through...
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