北京剧院的声学设计

北京剧院是一个以戏剧演出为主的多功能剧院,容纳1000名听众。为在声学上适应多种剧目演出的要求,在观众厅内设置了可调吸声结构;为满足自然声音乐演出的需要,着重考虑了厅内的声扩散设计,并在舞台上配置了活动音乐罩和升降乐池。本文主要介绍该剧场的声学设计和所取得的成果,以此证实了在声学上实现多功能使用的必要性和可能性。     

广东星海音乐厅室内乐厅的声学设计

室内乐厅是以演奏室内乐为主、兼供独奏(唱)、音乐讲座、文娱演出和立体电影所用的多功能厅堂。为使各项功能均具有最佳的声学条件,设置了用计算机调控混响时间的装置。本文概要介绍室内乐厅的声学设计、但侧重于计算机调控混响时间所取得的成效。     

北京七色光儿童艺术剧院的声学设计

北京七色光儿童艺术剧院是一个以演出儿童话剧为主，同时还可以进行歌舞、音乐等其他文艺形式的演出的多功能剧场，该剧院形式活泼，音质良好。本文从音质和噪声控制的几个方面对其声学设计进行了介绍。     

江浙沪建筑声学互访活动在南京举行

受江苏省声学学会和建筑学会邀请,上海市声学学会和浙江省声学学会代表团一行１０人于２００１年５月１５日－１７日在南京进行了访问和学术交流。在宁期间参观了江苏省设计院和南京大学近年来完工的紫金大剧院、江苏省艺术学院音乐厅和扬州大剧院等,举行了《剧场建筑与声学设计》学术报告会。上海现代设计集团章奎生声学研究所交流了他们近两年完成的２０余个文化建筑和体育建筑的声学设计,同济大学王季卿教授作了《古戏台建筑声学设计》学术报告,南京大学孙广荣教授、东南大学甄开源教授和柳孝图教授分别作了《音乐厅音质设计》、《檀…     

体育馆声学设计探讨

本文分析了我国综合性体育馆共同的体形特征及其所导致的运用建筑声学时的出现的若干问题，探讨了有关的声学标准，并以工程实践为例，说明必须依靠建筑声学设计和电声设计的结合，才能作好体育馆的声学设计。     

儿童球幕电影厅的声学设计

圆形平面或穹形平顶存在着明显的声学缺陷，这种现象在半球形房间中尤为严重。一座具有这种形状的球幕电影厅的声学设计是在钢筋混凝土薄壳完成以后才提出来的，所以增加了工作难度。因此必需采用一些特殊声学处理，要求重量轻、吸声强、具有散射特性等以减少圆墙和圆顶的聚焦和爬行效应，同时还要控制大厅的混响时间。经过多种声学措施后，达到了满意的室内音质效果。     

声学消息

目前农村集镇纷纷要求兴建自己的剧场,但由于农村缺乏设计力量,无法选到适合当地所需要的,音质良好的剧场设计方案和部分基木施工图纸.为了解决这一问题,中国声学学会与城乡建设环境保护部设计局、文化部艺术局、中国建筑学会建筑物理委员会等单位联合举办了“全国农村集镇剧场建设方案竞赛”. 有来自全国各大城市的设计院、高等院校、部队等单位的集体和个人参加了此项活动,共收到设计方案129个. 1983年11月在昆明经过评比,选出一等奖一个、二等奖三个、三等奖八个、鼓励奖20个.于1984年初给获奖者颁发了奖状和奖金.井将“全国农村集镇剧场…     

体育馆声学设计探讨

本文分析了我国综合性体育馆共同的体形特征及其所导致的运用建筑本学时出现的若干问题，探讨了有关的声学标准，并以工程实践为例，说明必须依靠建筑产学设计和电声设计的结合，才能作好体育馆的声学设计．     

声学消息

“Bulletin d’Acoustique”是新的半年刊科学评论杂志.它由比利时的列日大学的应用声学和电声学系出版.刊物内容是其实验室的科学工作者所完成的介绍声的应用和基础研究方面的论文.该刊评论所涉及的方面有:工业声学;都市声学;房间和剧场声学;噪声控制;电声;语声处理等.     

大连广电中心广播电视剧场声学设计

广播电视剧场是随着电视技术的发展和需要而产生的一种新的观演建筑的形式，它不同于一般的演播室，也有别于普通的剧场。它不仅要求能够进行电视节目的转播和录制，还要求能够进行音乐、歌舞等各种文艺节目的演出，并能够举行会议和放映立体声电影，因此，广播电视剧场对音质有很高的要求。本文介绍了大连广播电视中心广播电视剧场的建声设计，在该剧场内采用了计算机控制的可调混响装置，使得各种使用功能都能有一个较为理想的建声环境。     

厅堂声学测量中不同激励声源的比较

基於脉冲响应积分的音乐厅和剧院观众厅声学特性的测量目前有三种使用不同激励声源的测试方法:人工脉冲声源、伪随机噪声序列(MLS)、以及用正弦扫频信号。这些技术各有其优缺点,在实际应用中为了方便根据具体情况选择不同的激励声源,通过在一个音乐厅现场的实测数据比较丁三种声源的实测结果,发现对混响时间测量三种不同的激励声源给出的结果基本一致,但是对明晰度和一些其他的指标,脉冲声源给出的结果与用MLS和扫频信号给出的结果有较明显的差别。对实际中如何选择具体的技术也做了建议。     

1:50 scale acoustic models for objective testing of auditoria

The particular problems of small-scale models, namely air absorption and transducers, are discussed and it is found that with a dehumidified atmosphere (2–3 per cent relative humidity) and currently available transducers the measurement of reverberation time, as well as impulsive type measurements such as early to late energy ratio and early decay time, is possible at a scale of 1:50. The upper frequency limit for reverberation time is the 2 kHz octave equivalent and the 1 kHz octave for impulse measurements. Comparable measurements made in an auditorium and its 1:50 scale model showed good agreement. Some results of measurements in a model theatre and concert hall are also reported. It is concluded that 1:50 scale acoustic models enable one to measure quantities which cannot be calculated from drawings and offer a valuable aid for the development and confirmation of an auditorium design.     

Virtual models for the prediction of acoustic fields of Manuel de Falla Auditorium in Granada,Spain

This paper presents the results of the acoustic simulation of the Manuel de Falla Auditorium (MFA), Granada, Spain, carried out in CATT-Acoustic and CATT–TUCT. The 3D geometrical acoustic model created for this purpose is tuned by adjusting the absorption and scattering coefficients of the convex reflector ceiling of the auditorium through an iterative process aimed at rendering differences between simulated and measured values for reverberation time in each octave frequency band lower than 5%. The model is validated by comparing simulated and measured figures for the most significant monaural and binaural room acoustic parameters assessed at multiple locations both on the stage and within the audience areas, then by performing both spectral and spatial analyses of their behaviour, and ultimately studying dissimilarities between the two sets of data in terms of just noticeable difference (JND). The influence of the degree of detail of the geometric model on the outcome is also considered by incorporating the 44 iconic lamps specifically designed for this enclosure, into the model. Likewise, the acoustic effect of an already executed seating replacement in the performance space is analyzed in relation to the degree of occupancy of the room. The simulated results confirm the appropriateness of the choice of the new seating for the refurbishment of the concert hall.     

Acoustics of the Great Hall of the Moscow State Conservatory after reconstruction in 2010–2011

The Great Hall of the Moscow State Conservatory was built in the early 20th century. For more than 100 years of service, it had a high acoustic reputation both among musicians and audience. By the beginning of the 21st century, the hall was in nearly critical condition. Thus, major renovation was needed. In terms of architectural acoustics, the main task was to keep the good acoustics of the hall. This paper presents the results of acoustic parameter measurements of the hall after Reconstruction in 2010–2011. The parameters of the hall measured before and after reconstruction are also compared. The comparative acoustic characteristics between the Great Hall and world leading concert halls are given.     

保利剧院的声学设计

保利剧院是一座继承传统歌剧院的良好品质,又能适应近代各种需求的专业歌剧院,兼供自然声音乐演奏和戏剧演出,为确保剧有良好的音质,从方案阶段就开始声学设计,并贯穿于设计、施工、试用调试的全过程,从而获得了良好的音质,评价颇高,本文概要介绍保利剧院的声学设计及从中取得的经验。     

Acoustic diffraction effects at the Hellenistic amphitheater of Epidaurus: seat rows responsible for the marvelous acoustics

The Hellenistic theater of Epidaurus, on the Peloponnese in Greece, attracts thousands of visitors every year who are all amazed by the fact that sound coming from the middle of the theater reaches the outer seats, apparently without too much loss of intensity. The theater, renowned for its extraordinary acoustics, is one of the best conserved of its kind in the world. It was used for musical and poetical contests and theatrical performances. The presented numerical study reveals that the seat rows of the theater, unexpectedly play an essential role in the acoustics--at least when the theater is not fully filled with spectators. The seats, which constitute a corrugated surface, serve as an acoustic filter that passes sound coming from the stage at the expense of surrounding acoustic noise. Whether a coincidence or not, the theater of Epidaurus was built with optimized shape and dimensions. Understanding and application of corrugated surfaces as filters rather than merely as diffuse scatterers of sound, may become imperative in the future design of modern theaters.     

The singer and the auditorium

The nature of the relations between the singer and the auditorium is discussed; in particular, the differences between the acoustic situation of the singer and that of other musicians are emphasized. It is concluded that early, high frequency reflections are needed by singers, and the reasons for this conclusion are explained in some detail.     

Some preliminary acoustical considerations in the design for the proposed Wellington (New Zealand) town hall

The preliminary design for Wellington Town Hall, New Zealand, is an evolution from the successful design for Christchurch Town Hall. It includes, however, the results of a decade of experimental work on the effects of early lateral reflections on listener preference for orchestral music. The basic form of the auditorium remains an arena, roughly elliptical in plan, and containing within its boundaries large suspended surfaces to ensure appropriate reflection sequences. The acoustical design objectives include the combination of a long reverberation time, “envelopment” due to the lateral reflections and clarity as encourtered in Christchurch Town Hall. Advances in the provision of diffusion and understanding of the acoustical requirements for ensemble are included in the proposals. The experimental work and other advances in knowledge relating to concert hall design are reviewed, and their application in the design of Wellington Town Hall is discussed.     

Acoustic imaging using a volumetric array

A method is described for producing images of acoustic sources using a volumetric array. Theoretical results are presented and compared to those obtained experimentally from an acoustic 64 element random spherical volumetric array. Application areas for such a system include auditorium characterisation, recording studio optimisation and covert surveillance operations.