We know almost immediately whether a room sounds good.
Just like the sound quality of a good speaker vs lousy headphone. Music can feel warm, thin, brilliant, muddy, intimate, or distant. Attaching numbers to those impressions is considerably harder. Smyth traces the period when architects, physicists, musicians, and engineers began trying to do precisely that.
Building is a musical instrument. Architecture does not simply contain sound; it participates in producing what we hear. Materials, surfaces, furnishings, dimensions, and even the bodies occupying a room alter its acoustic character. By the middle of the twentieth century, buildings could effectively be “tuned.” Yet Smyth resists presenting this as a neat story in which intuition was steadily replaced by science. The history is much messier.