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101.
102.
The choir singer has two acoustic signals to attend to: the sound of his or her own voice (feedback), and the sound of the rest of the choir (reference). The balance in loudness between feedback and reference is governed mainly by the room acoustics. Although earlier experiments have shown that singers have a fairly large tolerance for imbalance, with references ranging from −23 to +5 dB, experience suggests that, when singers are given control over this parameter, their preferences are much narrower. A quantification of the optimum balance would be useful in the design of concert stages and rehearsal halls. A method is described for measuring the feedback and reference levels as experienced by singers under live performance conditions. Recordings were made using binaural microphones worn by choir singer subjects. With the given combination of choir and room, it was possible to achieve adequate separation of the feedback and reference signals with simple signal processing. The feedback-to-reference ratio averaged over the 12 singers was found to be +3.9 dB, with extremes of +1.5 and +7.3 dB. 相似文献
103.
I.IntroductionAnti-soundisalsocal1edactivenoisecontro1(ANC).Itsbasicidea,presentedintheLueg'spatentinl936l'l,isthatthenoisereductionisobtainedbyuseofthesignalpro-cessingofthepreliminarysoundsource(i.e.noisesource)toformcoherenceinfluencebe-twccnthepreliminarysoundsourceandthesecondarysoundsourcc(i.c.anti-soundsource).Therearesomeadvantagesofanti-soundsuchasactivecontro1,lcsseffectonthecharacteristicsofnoisesourccandmorereductionoflowfrequcncynoisc.Inrecentyears,therewerealotoftheoreticalande… 相似文献
104.
TANG Weilin 《声学学报:英文版》1993,(3)
In this paper the physical acoustic method or the Kirchhoff approxima-tion is extended to treat the scattering of a nonrigid surface in order to estimatethe target strength of targets with absorbing coatings.By using the locally planewave approximation,the relationship between the sound pressure and its normalderivative on the surface can be represented by the plane wave reflectioncoefficient and the acoustic impedance of the surface.The resulting modifiedKirchhoff approximation involves the plane wave reflection coefficient.For aimpedance sphere,a comparison between the physical acoustic method and theexact solution shows that the physical acoustic method still is a good approxima-tion at higher κα values. 相似文献
105.
106.
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。 相似文献
107.
传统古戏台下设瓮助声乃广为流传的说法,在国外亦有类似记述。作者对此作了考据和声学分析,认为事属妄传,当予澄清。 相似文献
108.
Richard J. Morris Ashley J. Mustafa Christopher R. McCrea Linda P. Fowler Christopher Aspaas 《Journal of voice》2007,21(5):568-575
Acoustic differences were evaluated among three choral arrangements and two choral textures recorded at three microphone locations. A choir was recorded when singing two musical selections of different choral texture, one homophonic and one polyphonic. Both musical selections were sung in three choral arrangements: block sectional, sectional-in-columns, and mixed. Microphones were placed at the level of the choristers, the conductor, and the audience. The recordings at each location were analyzed using long-term average spectrum (LTAS). The LTAS from the mixed arrangement exhibited more signal amplitude than the other arrangements in the range of 1000-3500Hz. When considering the musical selections, the chorus produced more signal amplitude in the region of 1800-2200Hz for the homophonic selection. In addition, the LTAS produced by the choir for the homophonic selection varied across the microphone locations. As for the microphone location, the LTAS of the signal detected directly in front of the chorus had a greater slope than the other two locations. Thus, the acoustic signal near the choristers differed from the signals near the conductor and in the audience. Conductors may be using acoustic information from the region of the second and third formants when they decide how to arrange a choir for a particular musical selection. 相似文献
109.
110.
A method for estimating the plucking point of guitar tones is proposed. The algorithm is based on investigating the time lag between two consecutive pulses arriving at the bridge of the guitar. The signal is detected with an under-saddle pickup attached to the bridge. The method determines the minimum of the autocorrelation function for one period of the signal. The time lag of the minimum can be converted into the distance from the bridge where the string was plucked. The results obtained with the method are good, the error remains smaller than one centimetre, except for a few outliers. The algorithm is easy to implement and can be used to analyse playing styles. The efficiency of the method gives the potential to also use it in real-time computer music applications. 相似文献