Burris-Meyer, Harold, 1902-1984
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Other Identifiers
- identifier: http://d-nb.info/gnd/188448934; GAC: XD-US; other class #: 15.1p sswd; preferred: Burris-Meyer, Harold 1902-1984; gender: 1; lang. code: eng; variant: Meyer, Harold Burris-; related: New York, NY ( (German National Library via VIAF, Oct. 4, 2019) )
- preferred: Burris-Meyer, Harold 1902-1984; birthplace: Madison (New Jersey); country: United States; gender: Males; lang. code: eng; variant: Meyer, Harold Burris-; related: Cole Edward C.; note: Ingénieur. Consultant en aménagement acoustique des lieux de spectacle. Membre de l'acoustical society of America. Fondateur du United States institute for theatre technology ( (National Library of France via VIAF, Oct. 4, 2019) )
- identifier: 0000000109160295; born: 1902; died: 1984; preferred: Burris-Meyer, Harold, 1902-1984; variant: Meyer, Harold Burris-; biographical/historical: Enseigne les sciences humaines, Florida Atlantic university, Boca Raton (en 1964). Spécialiste de l'architecture et de l'acoustique des théâtres ( (Système Universitaire de Documentation via VIAF, Oct. 4, 2019) )
- Scenery for the theatre, 1938.
Wikipedia description:
Harold Burris-Meyer (1902-September 27, 1984) was a twentieth century American scientist who investigated the use of sound as a tool for emotional and physiological control and played a critical role in the emerging fields of sound design for theater, productivity music for industry, and applied psychoacoustics for warfare. He was a professor at the Stevens Institute of Technology, in Hoboken, New Jersey. He was also an author, a U.S. Navy commander, and a theatrical consultant. During a long and varied career, Burris-Meyer worked at the Muzak Corporation, directed the first stereophonic recordings for Bell Labs in 1941, experimented with the Vocoder, and served as sound designer on thirteen Broadway shows, as well as on productions for the Metropolitan Opera and the Federal Theater Project. Burris-Meyer pioneered the use of "infrasound (sound with a frequency below the lower limit of human audibility)" in theater settings to "manipulate audiences' emotions subconsciously," wrote historian Prof. Gascia Ouzounian. "Following a demonstration [by Burris-Meyer] of 'subsonics' in 1935, journalists speculated on the possibilities of mind control and mass hysteria."
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