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。     

全国厅堂音质研讨会在宁波召开

由中国声学学会环境声学分会和中国建筑学会建筑物理委员会、北京声学学会联合召开的全国厅堂音质研讨会于1989年11月1日至3日在浙江宁波举行。来自全国有关厅堂音质的研究和设计部门共23名代表,在会上宣讲了15篇厅堂音质的研究成果和设计经验文章,并重点研讨了以下四方面的问题: 1.国内外影剧场音质研究、设计的经验教训和音质指标; 2.新技术(方法)在厅堂音质研究、设计中的应用;     

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。     

从建筑声学到环境声学

本文简述环境声学的发展过程以及在厅堂音质、环境噪声和噪声控制方面的新世纪展望。     

《音乐建筑──音乐、声学、建筑》评介

北京市建筑设计研究院项端祈高级工程师撰写的 《音乐建筑－音乐、声学、建筑》一书已于1999年 6月由中国建筑工业出版社出版.这是一本内容丰富 的参考书,它提供了大量有关音乐厅、歌剧院、多功 能剧院、琴房教室和排练厅、音乐录音室的声学设计 资料,并配有精美的插图和照片.建筑师和建筑声学 工作者可以从中获得许多有价值的参考,其中包括国 外的和国内的,国内的多来自作者多年工程设计的实 践经验. 音乐建筑设计涉及音乐、声学和建筑诸多方面, 是比较特殊的建筑类型。由于音乐欣赏带有相当大的 主观性,故要满足使用者的要求,除了已掌握的音质 基本物理参量和与之相应的建筑措施外,还需考虑不 少不确定的或未知的因素.但不能因此而认为音乐厅 的音质设计成功与否要"凭运气",是"黑箱作业".     

演艺建筑声学设计面临的机遇和挑战

在经济建设取得巨大成就的同时,随之兴起了演艺建筑和文体建筑的高潮,2008年奥运申办 成功,促进了发展的势头。为确保各类厅堂具有良好的音质,声学工程师肩负着设计的重任。本文简 述建筑声学面临的机遇和挑战。     

我国建筑声学的20年回顾与展望

我国建筑学声在近20年间，无论在科研、设计、声学材料（结构）的研制、生产和应用方面均有较大的发展。在厅堂音质设计的个别领域还取得了突破性的进展。本文就上述几方面作概要的介绍。     

歌剧院声学的和建筑的设计工具,现状和前景

现代歌剧院和剧院内部建筑的设计及其实现,趋向于标准化和遵循同样的审美倾向,这导致这些大厅的声学性能比较低劣,大厅设计的历史过程是,从独特的审美和视觉的途径,转向实用性地复制一些最成功的样板,然后又转向声学的理论化和各式各样的模型化,首先出现了小型的声学硬件的模型,随后是计算机模型,除了能够可靠地预计声学质量之外,计算机的真正优势在于它们的灵活性,它们能够完美地满足设计者之间的对话需要,特别是满足声学家和建筑师之间的对话需要,这就是新千年的伟大革命,它必须一些古老大厅建筑的丰富内含可能重新综合,只要人们重新引进对某些这类大厅的高声学质量的有助益的一些模式。     

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。     

Development of an Auditory-Perceptual Rating Instrument for the Operatic Singing Voice

Although considerable progress has been made in the development of acoustic and physiological measures of operatic singing voice, there is still no widely accepted objective tool for the evaluation of its multidimensional features. Auditory-perceptual evaluation, therefore, remains an important evaluation method for singing pedagogues, voice scientists, and clinicians who work with opera singers. Few investigators, however, have attempted to develop standard auditory-perceptual tools for evaluation of the operatic voice. This study aimed to pilot test a new auditory-perceptual rating instrument for operatic singing voice. Nine expert teachers of operatic singing used the instrument to rate the singing voices of 21 professional opera chorus artists from a national opera company. The findings showed that the instrument has good face validity, that it can be legitimately treated as a psychometrically sound scale, and that raters can use the scale consistently, both between and within judges. This new instrument, therefore, has the potential to allow opera singers, their teachers, voice care clinicians, and researchers to evaluate the important auditory-perceptual features of operatic voice quality.     

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.     

科特迪瓦共和国剧场声学设计与缩尺声学模型试验

科特迪瓦共和国剧场包括主演出厅、第二演出厅、排练厅和各种配套用房。此外还有科方自建的露天剧场，它构成了供和国首都阿比让市的演出中心，由于三个厅室各有其主要功能、且音质要求较高，故分别进行了声学设计，并对其中的主演出厅作了缩心声学模拟试验，以弥补声学计算上的不足，本报告简述共和国剧场各厅声学设计指标的确定，以及为达到预期声学效果所采取的各项技术措施。     

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。     

Acoustical design of the opera house of the New National Theatre, Tokyo, Japan

Architect Takahiko Yanagisawa's preface explains his approach to the design. The NNT opera house seats 1810, its volume is 14500 m3, and its reverberation time, with audience, is 1.5 s (proscenium curtain open). Measurements on CAD computer and 1:10 wooden models and full-sized materials samples were conducted over a 7-yr. period. The main floor is almost rectangular, the three balconies have modest fan shape in plan, although the balcony facia at each level create a rectangular shape. The unique design has a large curved reflector in front of and above the proscenium and six curved reflecting surfaces at the front ends of the three side balconies to form, in combination, an "acoustic trumpet." These surfaces, along with the balcony faces and the shaped ceiling, distribute the singers' voices uniformly over the seating areas from a large portion of the large stage at sound levels that easily override the orchestra in the pit.     

多通路声和家庭影院(1)

本文叙述了多通路声的发展和它的音质。环绕声系统和家庭影院的进展,将使家庭内具有甚优于目前流行的双通路立体声系统的音质。     

从表演者角度论述歌剧院的声学研究和设计

本文从解决歌手与乐队竞争的谜团入手,详述了歌剧院乐队演奏(缺乏高频声)和歌剧唱法(高频的歌手共振峰)的声音特点,进而提出了歌手和乐队之间平衡的声学设计(即放大歌手的歌唱声并适当降低乐队的演奏声,观众听起来歌手和乐队之间的声音保持平衡),重点论述了乐池的声学设计。然后分别从提高表演者的相互听闻(为了合奏的同步性)和提高房间的声反馈(为了控制演奏的响度)进行了论述,得出从表演者角度进行声学研究和设计的重要性。     

The effect of visual and auditory cues on seat preference in an opera theater

Opera performance conveys both visual and auditory information to an audience, and so opera theaters should be evaluated in both domains. This study investigates the effect of static visual and auditory cues on seat preference in an opera theater. Acoustical parameters were measured and visibility was analyzed for nine seats. Subjective assessments for visual-only, auditory-only, and auditory-visual preferences for these seat positions were made through paired-comparison tests. In the cases of visual-only and auditory-only subjective evaluations, preference judgment tests on a rating scale were also employed. Visual stimuli were based on still photographs, and auditory stimuli were based on binaural impulse responses convolved with a solo tenor recording. For the visual-only experiment, preference is predicted well by measurements taken related to the angle of seats from the theater midline at the center of the stage, the size of the photographed stage view, the visual obstruction, and the distance from the stage. Sound pressure level was the dominant predictor of auditory preference in the auditory-only experiment. In the cross-modal experiments, both auditory and visual preferences were shown to contribute to overall impression, but auditory cues were more influential than the static visual cues. The results show that both a positive visual-only or a positive auditory-only evaluations positively contribute to the assessments of seat quality.     

ON THE TESTING OF RENOVATIONS INSIDE HISTORICAL OPERA HOUSES

Due to the large number of historical opera houses in Italy, many theatres have been renovated in the past, but still more will undergo major restoration in the near future. Unfortunately in this context, the quality and protection of acoustics is rarely considered as an issue of its own. As a consequence, the renovations are hardly ever accompanied by proper scientific and technical support. In this paper, the acoustical impact of works inside the Teatro Municipale “R.Valli” in Reggio Emilia, including the restoration of the main hall and the construction of a new acoustic shell, will be dealt with. Surveys were held in the theatre before renovation and were repeated with identical procedure and instruments after its completion. By means of a comparative analysis of the architectural project and of acoustical data, the impact of major changes in the theatre can be predicted. It is shown that this approach can help in drafting an operational scheme for safeguarding the acoustics of historical opera houses.