笙的簧片物理参数与音色相关性的初步研究

为了改善笙的声音品质,本文研究了笙的簧片物理尺度与笙的音色之间的相关性。在提出笙的物理模型并验证其有效性的基础上,固定音高,改变簧舌的厚度、长度以及缝隙宽度,合成一组笙的声样本。通过对偶比较法以及多维尺度法分析笙的音色空间,根据簧舌参数及音色特征量解释该音色空间的物理意义,并从发声原理比较簧舌参数对音色的作用。结果表明,音高一定时,簧舌宽度对音色的作用可忽略,厚度(及长度)和缝隙宽度对音色的作用相似,但影响方式不同。改变簧舌物理参数所形成的二维音色空间与声音的对数起振时间、频谱丰富性以及频谱不规则度有关。起振特征与频谱丰富性特征存在共变关系,通过改变这两个特征,能够改变音色的明亮度和柔软度。     

笙的声学

本文给出民族管乐器笙的声学模型并应用类比线路的方法于笙的各部件。由小振动分析得出笙发声的条件。笙管的传输特性用转移函数表示并给出计算方法。在理论分析和实验的基础上讨论声频谱的特点。     

基于统计声学模型的单元挑选语音合成算法

在多语种语音合成任务中, 由于单人多语种数据稀缺, 让一个音色同时支持多种语言合成变得非常困难。不同于已有方法仅在声学模型中解耦音色和发音, 提出一种融合跨说话人韵律迁移的端到端多语种语音合成方法, 采用两级层级条件变分自编码器直接建模从文本到波形的生成过程, 并解耦了音色、发音和韵律等信息。该方法通过迁移目标语种已有说话人的韵律风格来改善跨语种合成的韵律。实验表明, 所提模型在跨语种语音生成上获得了3.91和4.01的自然度和相似度平均意见得分, 相比基线跨语种合成字错误率降低到5.85%。韵律迁移以及消融实验也进一步证明了该方法的有效性。

     

基于听觉中枢模型的水下噪声音色表达与特性分析

为建立水下噪声音色特征的定量表达以用于目标识别, 本文将主观评价实验获得的 4个本质音色维度得分与声音的听觉中枢响应建立联系, 得到音色的偏最小二乘回归模型, 并基于回归系数对每个维度进行物理分析. 为验证该方法的有效性, 本文提取大量音色描述符作为自变量进行对比, 结果表明听觉中枢模型预测能力有一定优势. 同时发现, 前 3个本质音色维度可分别由高频能量比例、谱平坦程度和时域连续性描述, 而第4 维度则无法与任何声学特征建立联系. 关键词： 本质音色 听觉中枢模型 偏最小二乘回归 音色描述符     

束缚态特征温度方法及应用

随着高超声速飞行器速度增大,激波层空气等离子体中的原子发射谱线成为辐射加热主要来源,因此研究原子激发非常重要.考虑到处于热非平衡态的空气等离子体,平衡态统计理论不适用.精细物理模型(如碰撞辐射模型)虽然可以处理热非平衡问题且准确度高,但计算量太大,难于工程应用.本文采用束缚态特征温度法,结合FIRE II激波管实验中的非平衡空气等离子体,对原子激发进行了分析.计算得到的原子能级布居与碰撞辐射模型符合,说明简化计算是合理的,计算效率提高了2000倍以上,且能够保证一定的精度.     

基于气泵的声管实验及分析

为研究声管的发声频率，进行了实验设计和分析.声管转动发声是由于空气在声管中的流动，考虑实际的实验条件，设计了气泵吹气代替声管转动的实验方式，改变吹气速率并测量发声频率.通过对实验结果的分析发现，此时的声管不符合两端开口即两端为波腹的条件，而是一端波节、一端波腹.声管的发声频率取决于其长度，符合驻波特性，发声时吹气速率与波纹长度须满足共振条件.研究结果有助于对驻波的理解和相关内容的实验设计.     

超高速撞击产生的等离子体特性研究

采用理论分析和数值模拟方法,对超高速撞击过程中产生的等离子体特性进行了研究。首先,结合热力学和统计物理理论,建立热电离物理模型,推导出热平衡等离子体电离度与温度的关系;进而由热平衡状态下的速度分布,获得等离子体电导率与温度的关系;最后,建立铝弹丸撞击靶板的三维有限元模型,模拟出弹丸以6.0km/s的初速度、60°入射角斜撞击平板的全过程,给出物理模型中所需的物理参数,分析了超高速撞击过程中产生的等离子体特性。通过对比物理实验中测得的等离子体参数,表明模型预测结果与实验结果具有较好的一致性,验证了该模型的有效性。     

敏感半导体陶瓷的显微物理模型(Ⅰ)

结合改进的有效介质理论(EMT)和敏感半导体陶瓷的特征,提出了一个简单的、定量的物理模型——显微物理模型,用来描述敏感半导体陶瓷的显微结构特性与性质的关系。在本文中,我们把这个显微物理模型应用于描述非线性ZnO陶瓷的电性质,并发现由该模型得到的结果与实验结果和由导电理论(半导体理论和量子理论)得到的结果是一致的。 关键词：     

Rijke管的实验研究和理论分析

为了探讨脉动燃烧器的原理,本文实验研究了Ｒｉｊｋｅ管中热源位置、温度和出口条件等参数对发声频谱、声压的影响,以及Ｒｉｊｋｅ管瞬态发声特性和热源饱和现象。借助Ｒａｙｌｅｉｇｈ准则,作了定性的理论分析,并与实验结果比较。从实验和理论两方面进行新的探索,来研究与Ｒｉｊｋｅ管相关的物理现象。     

水下噪声音色属性回归模型及其在目标识别中的应用

通过对声音的主观评价与客观分析而建立的主观感受数学模型,在许多领域都有重要的应用. 本文采用多元线性回归分析手段对水下噪声音色属性建立回归模型,提取音色特征并改善水下目标的识别效果. 首先,在前期水下噪声音色属性主观评价实验的基础上,将构成音色属性空间的5个成分的评价分值作为回归分析中的因变量,提取大量与听觉感知相关的听觉特征作为自变量;然后,通过相关分析和改进的逐步筛选法,挑选出反映音色属性的“最优”自变量子集;最后,利用向后剔除回归分析和水下目标识别实验,确定适当的音色模型,并通过假设检验证明该线性模型不仅正确有效,而且能改善水下目标识别效果.     

点簧簧片振动特性数值分析

簧片是笙等中国传统簧管类乐器的核心部件之一.通过点簧工艺可调整簧片振动频率,点簧簧片的差异对整体乐器的声音效果具有重要影响.针对点簧簧片的振动特性问题,对其建立非均匀截面并具有质量负载的振动模型,采用有限元方法计算点簧簧片的固有频率.大量算例分析了点簧质量、位置以及簧片的边界条件对振动频率的影响,研究发现:若点簧质量不...     

Ambisonics声捡拾与重放音色的双耳听觉模型分析与实验

提出用双耳听觉模型对空间声音色进行分析的普遍方法,并以Ambisonics为例进行了分析。Ambisonics是基于物理声场重构的空间声系统,其最终重构声场误差以及音色改变是由传声器捡拾和重放空间混叠误差共同引起的。采用修正的Moore双耳响度模型计算了Ambisonics重构声场的双耳响度级谱并和目标声场的情况比较,从而定量评价重构声场的音色改变。结果表明,在理想捡拾信号的情况下,无音色改变重放的上限频率和区域大小随Ambisonics的阶数而增加。而对于传声器阵列捡拾的情况,只要阵列的上限频率大于Ambisonics重放的上限频率,在重放的上限频率以下,传声器阵列空间混叠误差对最终重构声场及其感知音色的影响就可以忽略。在此基础上,提出了一种综合考虑捡拾与重放性能的Ambisonics系统优化设计方法。心理声学实验得到了和双耳听觉模型一致的结果,从而也验证了模型分析的有效性。     

Acoustics of Chinese woodwind reed instrument Sheng

I.IntroductionTheancientfolkwindinstrumentShengwasfounda1readyintheShangDynasty3000yearsago.AtraditionalShenghasl7bambooreed-pipes.IthasbeendevclopedintothepresentShengwithdifferentkindsofstructure.TherichsoundofShengisbri1liantandhar-monious.ThespecialityofShengisthatsevera1tonescanbep1ayedinharmonyandsomechords.Inthispaperitisana1yzedthattheprincip1esandacousticcharacteristicsofShengbasedonthe17lreed-pipeSheng.II.Acousticequiva1cntcircuitInFig.lisshowna17rced-pipeShengwithnames0fvari…     

The metre

A musical wind instrument transforms a constant pressure input from the player's mouth into a fluctuating pressure output in the form of a radiating sound wave. In reed woodwind and brass instruments, this transformation is achieved through a nonlinear coupling between two vibrating systems: the flow control valve formed by the mechanical reed or the lips of the player, and the air column contained by the pipe. Although the basic physics of reed wind instruments was developed by Helmholtz in the nineteenth century, the application of ideas from the modern theory of nonlinear dynamics has led to recent advances in our understanding of some musically important features of wind instrument behaviour. As a first step, the nonlinear aspects of the musical oscillator can be considered to be concentrated in the flow control valve; the air column can be treated as a linear vibrating system, with a set of natural modes of vibration corresponding to the standing waves in the pipe. Recent models based on these assumptions have had reasonable success in predicting the threshold blowing pressure and sounding frequency of a clarinet, as well as explaining at least qualitatively the way in which the timbre of the sound varies with blowing pressure. The situation is more complicated for brass instruments, in which the player's lips provide the flow valve. Experiments using artificial lips have been important in permitting systematic studies of the coupling between lips and air column; the detailed nature of this coupling is still not fully understood. In addition, the assumption of linearity in the air column vibratory system sometimes breaks down for brass instruments. Nonlinear effects in the propagation of high amplitude sound waves can lead to the development of shock waves in trumpets and trombones, with important musical consequences.     

Analysis with binaural auditory model and experiment on the timbre of Ambisonics recording and reproduction

A scheme for analyzing the timbre in spatial sound with binaural auditory model is proposed and the Ambisonics is taken as an example for analysis.Ambisonics is a spatial sound system based on physical sound field reconstruction.The errors and timbre colorations in the final reconstructed sound field depend on the spatial aliasing errors on both the recording and reproducing stages of Ambisonics.The binaural loudness level spectra in Ambisonics reconstruction is calculated by using Moore's revised loudness model and then compared with the result of real sound source,so as to evaluate the timbre coloration in Ambisonics quantitatively.The results indicate that,in the case of ideal independent signals,the high-frequency limit and radius of region without perceived timbre coloration increase with the order of Ambisonics.On the other hand,in the case of recording by microphone array,once the high-frequency limit of microphone array exceeds that of sound field reconstruction,array recording influences little on the binaural loudness level spectra and thus timbre in final reconstruction up to the highfrequency limit of reproduction.Based on the binaural auditory model analysis,a scheme for optimizing design of Ambisonics recording and reproduction is also suggested.The subjective experiment yields consistent results with those of binaural model,thus verifies the effectiveness of the model analysis.     

Acoustical analysis and model-based sound synthesis of the kantele

The five-string Finnish kantele is a traditional folk music instrument that has unique structural features, resulting in a sound of bright and reverberant timbre. This article presents an analysis of the sound generation principles in the kantele, based on measurements and analytical formulation. The most characteristic features of the unique timbre are caused by the bridgeless string termination around a tuning pin at one end and the knotted termination around a supporting bar at the other end. These result in prominent second-order nonlinearity and strong beating of harmonics, respectively. A computational model of the instrument is also formulated and the algorithm is made efficient for real-time synthesis to simulate these features of the instrument timbre.     

Reed vibration in lingual organ pipes without the resonators

Vibrations of plucked and blown reeds of lingual organ pipes without the resonators have been investigated. Three rather surprising phenomena are observed: the frequency of the reed plucked by hand is shifted upwards for large-amplitude plucking, the blown frequency is significantly higher than the plucked one, and peaks halfway between the harmonics of the fundamental frequency appear in the spectrum of the reed velocity. The dependence of the plucked frequency on the length of the reed reveals that the vibrating length at small vibrations is 3 mm shorter than the apparent free length. The frequency shift for large-amplitude plucking is explained by the periodic change of the vibrating length during the oscillation. Reed vibrations of the blown pipe can be described by a physical model based on the assumption of air flow between the reed and the shallot. Aerodynamic effects may generate and sustain the oscillation of the reed without acoustic feedback. The appearance of subharmonics is explained by taking into account the periodic modulation of the stress in the reed material by the sound field. Therefore, a parametric instability appears in the differential equation of vibration, leading to the appearance of subharmonics.     

水下噪声音色属性回归模型及其在目标识别中的应用

通过对声音的主观评价与客观分析而建立的主观感受数学模型,在许多领域都有重要的应用. 本文采用多元线性回归分析手段对水下噪声音色属性建立回归模型,提取音色特征并改善水下目标的识别效果. 首先,在前期水下噪声音色属性主观评价实验的基础上,将构成音色属性空间的5个成分的评价分值作为回归分析中的因变量,提取大量与听觉感知相关的听觉特征作为自变量;然后,通过相关分析和改进的逐步筛选法,挑选出反映音色属性的“最优”自变量子集;最后,利用向后剔除回归分析和水下目标识别实验,确定适当的音色模型,并通过假设检验证明该线性模型不仅正确有效,而且能改善水下目标识别效果. 关键词： 音色 多元线性回归 主观评价