北京工人俱乐部剧场的声学设计——多用途剧场可调混响方面的进展

北京工人俱乐部始建于50年代初,在戏剧界被认为是国内演出京剧音质最好的大厅。但出于结构安全和多用途使用方面的需要,于1987年进行翻建。翻建后的观众厅要求保持京剧演出时原有的音质水平,同时,在声学上要适应多用途的需要。对此,采用了可调混响结构,并对大厅的体形、每座容积、增强早期反射声等方面也作了改进。该工程于1988年10月竣工。通过声学测定和试用表明,大厅的声学设计达到了预期目的,特别在扩大低频混响的可调幅度方面取得了新的进展。     

《建筑厅堂音质设计》简介

建筑声学的理论和实践已有１００多年的历史．虽然对于要求高质量音乐演出的厅堂,仍然存在着需要进一步探讨的原理和处理技术,但总的来说,对于不同功能的厅堂,在声学要求上已有一系列音质设计的准则和方法．对于从事建筑设计的工程技术人员,却有时难以全面掌握音质设计的基础要求． 王季卿教授新著《建筑厅堂音质设计》一书（２００１年 １月由天津科技出版社出版）,全面论述了音质设计的原理和技术：既阐述了系统的基础理论,又介绍了最新的研究进展;既讲清了音质设计中的声学原理,又对各种功能的厅堂介绍了典型的设计实例,使设计…     

双耳差异度和音乐厅的最佳天花板:更多的横向声扩散

在欧洲，对许多音乐厅进行的主观音质评价工作中，发现用仿真头录下来的两耳信号的“双耳差异度”和主观评价有很大关系，两耳信号相似的音乐厅和听众席位，其主观音质评价是     

汉语通信系统客观音质评价方法

提出一种使用语音频谱动态特性的倒谱距离测量对通信系统或通信设备进行客观音质评价方法．它是在对语音通信中主、客观音质评价的研究并在使用LPC倒谱距离评价普通话语音质量的基础上发展起来的。语音频谱动态特性是利用倒谱系数对时间的回归分析来表示的．这种方法中，使用倒谱系数，回归系数和能量三个参数计算距离。比较了四种距离估算方法和主观音质评价（MOS）的相关性，结果表明该方法的综合评价与MOS得分的相关性最好，相关系数为0．954，取得了客观评价方法与主观评价方法一致的结果。     

首都钢铁公司鸿儒厅的声学改建

首都钢铁公司鸿儒厅为一多用途大厅,主要用于宴会、会议和文艺演出,也可用来举行舞会及放映电影。大厅建成后,在开会、演出及放映电影时出现了语言清晰度差,音质不佳等问题,影响了大厅的使用。为此,声学工作者和建筑师密切配合、在不破坏大厅原有建筑环境的条件下,对大厅进行了声学改建,加装了吸声体、舞台反射板等声学构件。改建后的大厅语言清晰、音质良好,并使良好的听觉环境与良好的视觉环境达到了统一,受到了使用者的好评。     

早期反射声时响度影响的实验研究

大厅内产场强度的分布，对于稳态声源来说取决于各处的直达声和来自所有界面的反射声．但是对于语言和音乐等脉冲性质的声源，由于人耳的积分效应，只有直达声和早期反射声才对听众席上所感受到的响度起主要作用，因此作为音质评价参量，要考虑到声场的有效强度．于是在消声室内利用“干”语言录音进行一系列主观试听实验，以求了解短延时回声（早期反射声）对响度评价的作用．实验中由电声装置产生出含有原始声和单个或多个延时回声的声场．实验结果表明声场的感受响度与回声能量、入射角及其延迟时间分布有关．对多个短延时回声和超过３０－５０ｍｓ的单个回声来说，能量相加规律并不适用．在有些情况下实际感受的响度比能量相加规律要小得多．     

L.L.Beranek教授访问我国

世界著名声学家L.L.Beranek教授应魏荣爵院士邀请,在南京大学百年校庆学术报告会（2002年5月22日）上作了“音乐厅和歌剧院”的报告。白瑞纳克教授在会前和会后访问了北京和上海,分别在中国科学院声学研究所和同济大学作了“音乐厅音质的客观参量”和“音乐厅和歌剧院”等学术报告。介绍了他的丰富设计经验和卓越研究成果。并在同济大学举行他的名著《音乐厅和歌剧院》中文版首发式（王季卿、戴根华、项端析、郑敏华等译,同济大学出版社出版）。该书从音乐、声学和建筑三个方面探讨大厅音质最新进     

北京红塔礼堂的音质设计

北京红塔礼堂是一个以音乐演奏为主的多功能厅堂,可容纳2010名听众.有效容积7800m~3.建成于1978年.为了适应自然声演出的需要,同年作了音质改善和调试工作,经几年的使用表明,音质良好. 本文主要介绍在大型厅堂内实现自然声音乐演出的设计要求和具体措施. 对大厅的音质设计和评价也作了概要介绍.     

声学消息──音乐厅声学国际学术讨论会

声学消息──音乐厅声学国际学术讨论会音乐和音乐厅声学国际学术讨论会于１９９５年５月１５—１８日在日本南部游览胜地雾岛的一座新建音乐厅内举行。会上宣读了４６篇论文，并刊印了论文集。来自各国的学者１３０余人参加此会。其中心内容是音乐演出大厅内音质的主观评...     

中、小型观众厅音质设计的工程方法(Ⅱ)

关于中、小型观众厅音质设计的工程方法,作者在前文(I)中,就引言、音质设计的前提条件、合理的体积、尺度的选择几个问题作了介绍.本文将对音质设计中的体型和吸声处理问题,作一介绍,以资设计中参考. 一、体 型 1.顶棚斜角(β) 观众厅地坪的坡度越大,对于视觉和直达声都有利,但是反射于舞台口处顶棚的一次反     

Review of objective room acoustics measures and future needs

ISO 3382-1 describes a number of objective room acoustics parameters that are generally accepted as useful for rating some specific aspects of concert hall sound fields. They include measures of decay times, energy ratios, measures of sound strength and several quantities related to the spatial aspects of sound fields. In most cases there are details of the measures, or their application, that raise questions. In general, there has not been a lot of practical research to explore how best to develop and use these objective measures to evaluate conditions in concert halls. For some well established measures such as Early Decay Time (EDT), we are not really sure how best to calculate their values. For other measures such as energy ratios, modifications are often proposed but without the support of subjective evaluations of the proposed changes. In other cases, such as measures of spatial impression, two approaches have been suggested, but their relative merits are not well understood. It is easy to propose ever more complex measures, but it is much more difficult to demonstrate their general utility. On the other hand, some commonly described characteristics do not have accepted related objective measures. Many more important and more general problems relate to the need, for design criteria in terms of each quantity, and for an improved understanding of just noticeable differences for each measure. This paper discusses each measure illustrating particular problems with measurements in various halls.     

关于音乐厅响度评价的研究

该文回顾并综述了对音乐厅(包括西洋交响乐厅及中国民族音乐厅)响度评价的研究历程,指出采用乐队齐奏强音标志乐段的平均声压级L_pF作为评价音乐厅响度客观指标的合理性与可行性。文中给出L_pF的计算方法以及对若干厅堂计算值与实测值的比较,并通过主观评价,给出L_pF的初步优选值域。采用L_pF作为响度评价指标的好处不仅在于它能表征听众听到的绝对响度的感受,还在于能预判何种规模的乐队适于在多大规模的音乐厅中演出,以便达到较佳响度效果的问题。     

On the combined effects of early- and late-arriving sound on spatial impression in concert halls

This paper describes six new experiments involving subjective ratings of the listener envelopment, LEV, and the apparent source width, ASW, of simulated sound fields. Previous work has identified LEV and ASW as the principal components of spatial impression in concert halls and has shown that ASW is primarily influenced by the level of early lateral reflections and LEV by late-arriving lateral reflections. The new results in this paper show that LEV can result from nonlateral late-arriving sounds and demonstrate the conflicting effects of early- and late-arriving lateral sound on ASW and LEV when both are present, as would occur in real halls. While it is possible to create simulated sound fields with only either LEV or ASW, in typical concert halls, the balance between early- and late-arriving lateral sound will determine the relative importance of LEV and ASW. LEV and ASW are shown to be perceived when the critical components of the sound field are salient relative to other components. The results of the new subjective studies were used to estimate expected ASW and LEV in 16 halls. In these halls LEV is predicted to be the stronger component of spatial impression.     

Sound strength and reverberation time in small concert halls

Sound strength and reverberation time measurements have been carried out in six small concert halls in Cambridge, UK. The sound strength G is a measure of the physical sound level in a concert hall and is closely related to the subjective sensation of loudness. It compares integrated impulse responses at a point in the measured room with that measured at ten metres distance in the free field.The aim of the measurements is to investigate the acoustic characteristics of the halls concerning sound strength and reverberation time. Furthermore the effect of the variable acoustics in the halls on these parameters is discussed in this paper. Especially for bigger ensembles it is often desirable to reduce the sound level in a small concert hall. The measurement results show that for a fixed hall volume, this can primarily be achieved by decreasing the reverberation time in the hall. However, with regard to the sound quality of a hall and the recommended reverberation times for chamber music, reverberation time cannot be reduced by an arbitrary extent. Therefore reverberation time and strength have to be balanced very carefully in order to obtain sufficient reverberation whilst at the same time avoiding excessive loudness. Finally the measured strength levels are compared to values derived from traditional and revised theory [Barron M, Lee L-J. Energy relations in concert auditoriums. J Acoust Soc Am 1988;84(2):618-28] on strength calculations in order to assess the accuracy of the theory for small chamber music halls. Possible reasons for the low measured strength levels observed are discussed with reference to related design features and objective acoustic parameters.     

Overall evaluation for concert hall acoustics

I.IntroductionTherearetwowaysofcvaluatingconcertha1lacoustics.Oneistoevaluatetheacousticalqualityofaconcertha11ateachlistener'spositionrespectively,andtheotheristoevaluatetheacousticalqua1ityofaha1lasawho1e.Bothwaysarebasica1lysimilar.Howcvcr,sincesomcob-icchveparametersmayhavedifTerentvalucsatdifferentpositions,onemustdcfinesuitab1ein-dicestodescribetheseparameters(e.g.meanva1ucsorothers),sothatacomparisonbetweenha1lsbecomcspossib1e,Thispaperdea1swiththelattereva1uationbyusingfuzZysettheory…     

Definition eines raumeindrucksmasses R zur bestimmung des raumeindrucks bei musikdarbietungen auf der grundlage subjektiver untersuchungen

The subjective impression of a room is an essential characteristic of the judgement of the acoustics of a concert hall. In parallel, the investigation ‘Synthetic Sound Fields’ will define a room impression index $\text{R}$ which can be derived from the impulse response of the room.The correlation between the calculated room impression index $\text{R}$ and the subjective judgement of room impression for 125 test sound fields was highly significant. A significant correlation is also obtained between the subjective impression in concert halls and the measured values of room impression index $\text{R}$.     

Distribution of selected monaural acoustical parameters in concert halls

Acoustical parameters calculated from impulse responses are often used to evaluate the characteristics of concert halls. Representative parameters are listed in the Annex of ISO 3382 and the methods of calculation and the minimum number of measurement positions are explained in detail. However, a method for selecting measurement positions is not discussed clearly, because there are wide variations in the characteristics of sound fields. This report provides basic data to solve this problem using spatial distribution characteristics of parameters in halls. Three large-scale measurement campaigns were conducted in which impulse responses were measured at 1427, 180, and 511 locations. Relatively large differences in the obtained parameters compared with well-known difference limens suggest that determining the distributions of parameter values is important. Contour maps are therefore used to display the distributions along with mean values.     

The acoustical characterization of orchestra platforms and uncertainty estimation of the results

Measurements have been carried out on furnished orchestra platforms in four concert halls in Italy in order to describe the sound field perceived by musicians. The heterogeneous nature of the orchestra suggested a procedure able to take into account the mutual hearing between instrumental sections. The measured parameters were the early, late and total support, the reverberation time, the early decay time and the clarity index. A part of the study has been devoted to the measurement uncertainty estimation. The source directivity and the small displacements of the microphone influence the early decay time to a great extent while the on-platform spatial variability affects both the early decay time and the clarity index. Per-section early support shows differences that render the overall spatial mean inappropriate to describe the stage as a whole. For the other parameters an overall mean platform value can instead be suitable, even though, for the case of clarity a more evident group variability is observed. The values of late support, reverberation time, early decay time and clarity index, proposed in literature as suitable measures of reverberance for musicians, are not all intercorrelated, indicating that not all these parameters can be associated to the same subjective impression.     

厅堂声学一百周年(1895—1994)

本文介绍自Ｗ．Ｃ．Ｓａｂｉｎｅ以来１００年厅堂声学的发展简史，包括室内声学理论，音指标与评价，声学测试方法，缩尺模型技术，计算机仿真技术及厅堂设计的发展，现状及关于今后研究方向的前瞻。