Read the following excerpt adapted from an essay on the development of architectural acoustics:
[Paragraph 1] For centuries, master masons constructed cathedral halls relying solely on traditional intuition, accepting long echoes and muddy reverberation as inevitable attributes of sacred grandeur. Builders prioritized visual majesty over sonic clarity, regarding sound as an ethereal phenomenon largely beyond physical measurement.
[Paragraph 2] In 1895, young physics professor Wallace Sabine was tasked with rectifying the notoriously muffled acoustics of Harvard University's newly constructed Fogg Lecture Hall. Approaching the room not as a static monument but as a dynamic laboratory, Sabine systematically moved seat cushions into the hall, measuring how incremental surface absorption reduced sound decay time.
[Paragraph 3] Through hundreds of late-night trials, Sabine derived a definitive formula linking room volume and material absorption to reverberation time, establishing architectural acoustics as a rigorous branch of applied physics. Nevertheless, contemporary designers note that strictly optimizing acoustic metrics can sometimes produce acoustically dry spaces that lack musical intimacy.
Based on the excerpt, match each structural transition in the text to the description of the shift in tone, focus, or perspective it represents.
- Transition between Paragraph 1 and Paragraph 2A shift from historical reliance on intuition and impressionism to empirical, laboratory-based scientific investigation.
- Internal development within Paragraph 2A shift from identifying a practical architectural defect to executing a controlled, step-by-step experiment.
- Concluding shift at the end of Paragraph 3A shift from celebrating a quantitative milestone to presenting a contemporary aesthetic qualification.