Surface shear horizontal waves associated with a periodic array of wires deposited on a substrate

The vibrational and electronic spectra of a semi-infinite crystal with a planar surface are modified by the presence of surface inhomogeneities or roughness such as ridges or grooves, quantum wires or tips. We develop a Green's function formalism to investigate the localized and resonant acoustic modes of shear horizontal polarization associated with the surface of a substrate supporting a single and a periodic array of wires. Each material is assumed to be an isotropic elastic medium. The calculation can be applied to an arbitrary choice of the shape and elastic parameters of the wires. The surface modes are obtained as well-defined peaks of the densities of states (DOS). In this paper, we calculate the variation of the density of states associated with the adsorption of a single wire, and the dispersion curves of the surface modes for a periodic array of wires on the flat surface of a substrate. We discuss their behaviors as a function of the elastic parameters and the relationship between resonant modes of the single wire and dispersion curves of the surface modes for a periodic structure. Received 6 December 2000     

Validation of the Slow Compressional Wave in Porous Media: Comparison of Experiments and Numerical Simulations

We perform numerical simulation of ultrasonic experiments on poroelastic samples, in which Biot's slow compressional wave had been observed. The simulation is performed using OASES modeling code, which allows to compute elastic wave fields in layered poroelastic media. Modeled were the experiments of Plona (1980), Rasolofosaon (1988), and our own measurements. In all the three situations, a good agreement between experiment and simulations has been observed. This further confirms the fact that Biot's theory of poroelasticity, on which the simulations were based, adequately describes the behavior of the porous materials under investigations at ultrasonic frequencies.     

Continuous Frechet differentiability with respect to a Lipschitz domain and a stability estimate for direct acoustic scattering problems

We consider direct acoustic scattering problems with eithera sound-soft or sound-hard obstacle, or lossy boundary conditions,and establish continuous Fréchet differentiability withrespect to the shape of the scatterer of the scattered fieldand its corresponding far-field pattern. Our proof is basedon the implicit function theorem, and assumes that the boundaryof the scatterer as well as the deformation are only Lipschitzcontinuous. From continuous Fréchet differentiability,we deduce a stability estimate governing the variation of thefar-field pattern with respect to the shape of the scatterer.We illustrate this estimate with numerical results obtainedfor a two-dimensional high-frequency acoustic scattering problem.     

圆孔声学非线性效应的数值模拟

本文发展了一种离散涡模型,模拟了在高声强声波作用下圆孔处发生的涡脱落过程。进而计算了圆孔中的声质点速度,并分析了孔中速度的畸变情况、最后给出了圆孔的非线性声阻和声抗的理论值。非线性声抗的理论预测是现有的研究圆孔声学非线性效应的准稳态模型没有满意解决的问题,因而所做的有关尝试是本文工作的特点之一。     

Theory of four-dimensional fractional quantum Hall states

We propose a pseudo-potential Hamiltonian for the Zhang-Hu’s generalized fractional quantum Hall states to be the exact and unique ground states. Analogously to Laughlin’s quasi-hole (quasi-particle), the excitations in the generalized fractional quantum Hall states are extended objects. They are vortex-like excitations with fractional charges +(−)1/m³ in the total configuration space CP³. The density correlation function of the Zhang-Hu states indicates that they are incompressible liquid.     

音乐厅音质设计进展述评

本文对近年来音乐厅音质设计中若干问题的进展作一述评。（1）在已建立的众多独立音质参量基础上，如何作出大厅综合评价，就需要考虑到它们的互动性和贡献权，方法学将成为关键。（2）空间感已确认由声源视在展宽度ASW和听者环绕感LEV组成，对于影响两者的诸多复杂因素有了较深入研究，这声场中的细节又将如何与大厅设计相联系亦备受关注。（3）听众及座椅吸声这个老问题有了新的研究成果，对于空、满场的声学关系已积累了更多资料，使大厅音质的估算更为精确可靠。（4）常说扩散对大厅音质很重要，但其主观效应仍然处于玄虚状态，一些新的主观试听实验结果还不足以说明问题。     

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。