Julien De Muynke et al. 14TH-CENTURY SOUNDSCAPE OF THE GREAT CHAPEL AT THE PALAIS DES PAPES

RECONSTRUCTING THE 14TH-CENTURY SOUNDSCAPE OF THE GREAT CHAPEL AT THE PALAIS DES PAPES: ARCHAEOACOUSTIC METHODS AND VISITOR ENGAGEMENT - Julien De Muynke (Eurecat, Technology Center of Catalonia, Barcelona | Sorbonne Université, CNRS, Institut Jean Le Rond d’Alembert) – Stéphanie Peichert (Talkartive S.A.) – Julien Ferrando (Aix-Marseille Université, CNRS, IDEAS, Aix-en-Provence) – Brian F. G. Katz (Sorbonne Université, CNRS, Institut Jean Le Rond d’Alembert)
Paper presented at the EAA 2025 session "New Approaches to Archaeoacoustic Studies" organised by Joshua Kumbani, Margarita Diaz-Andreu and Zorana Đorđević, representing the EAA Artsoundscapes and the Cult-Aural projects. Date: 2 September 2025. ABSTRACT: Archaeoacoustics investigates the soundscapes of the past, including the reconstruction of room acoustics to better understand the sonic environments of historical spaces. Complementing the study of ancient instruments and historical sound sources, the acoustics of built spaces significantly influenced how sounds were perceived by both performers and listeners. This study examines the Great Chapel of the Palais des Papes in Avignon, reconstructing its 14th-century acoustics during its use for Papal Masses. Ray tracing acoustic modeling was employed, integrating historical records on the chapel’s architecture and ornamentation to generate a virtual acoustic model of the space. The results reveal significant differences from its modern-day acoustics. The modeled acoustics were implemented in a real-time auralization system, enabling singers from a choir ensemble specializing in the Ars Nova repertoire—which flourished at the Papal Court—to experience and perform within the reconstructed acoustics. The system, combining individual proximity microphones and static binaural reproduction through semi-open-back headphones, allowed singers to engage with the historical acoustics, supporting a historically informed performance. The resulting dry recordings were used to reconstruct the chapel’s historical soundscapes as they would have been perceived by medieval listeners and were integrated into an interactive audio guide for visitors, offering an immersive and scientifically informed sensory experience of music’s role at the Papal Court.