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1.
《应用声学》2004,23(1):48-48
十月金华,金桂飘香。正值浙江省“首届中国浙江学术节”隆重举办和浙江省声学学会成立十周年之际,2003年的10月11日,我们天津市、山东省、江苏省、浙江省三省一市声学学会联合举办的2003’津鲁苏浙声学学术会议(21世纪声学技术创新论坛)在浙江金华市隆重召开。天津市声学学会李允武理事长、王以真副理事长、山东省声学学会徐海亭理事长、江苏省声学学会陈伟中理事长、浙江省声学学会刘孟庵名誉理事长、崔晓文理事长、王兴荣、潘仲麟、张志涛、周利生、方健文、张三明副理事长以及各地的78名声学专家、学者、企业家和工作者出席了会议。会议特邀佳宾张淑仪院士出席了学术会议, 《应用声学》编辑部王丽生副主编到会。 刘孟庵教授主持了大会开幕式。浙江省声学学会  相似文献   

2.
中国传统戏场亭式戏台拢音效果初析   总被引:1,自引:0,他引:1       下载免费PDF全文
王季卿  莫方朔 《应用声学》2013,32(4):290-294
传统戏场的建筑形制多样,其戏台形式也各异。最具代表性的是三面敞开的亭式戏台。戏台面积不大,顶棚不高,或有华丽穹形或其它构架形式的藻井。这些组合起到声反射罩作用。在此演唱,自我感受良好,即行家所谓的“拢音”效果。这种结构到底对演唱者有什么辅助作用,并无研究资料。本文借助音乐厅舞台上乐师对支持度的指标早期支持度来考察,通过计算机模拟,对比了平顶结构与穹顶结构的音质效果。初步的模拟结果显示穹顶中央附近位置的早期支持度比平顶下相同位置的更高。说明了传统戏场的亭式戏台穹顶对演唱者是有支持作用的。  相似文献   

3.
项端祈  吴佩刚 《应用声学》1985,4(1):26-31,21
音乐录音棚声学设计的新设想是:(1)棚的声学条件可随录音工艺和各类音乐的要求而改变;(2)借助于声学屏障,有可能把棚分割成具有不同声学条件的小室(或声部区);(3)用不规则室形代替矩形平面,这不仅可以提高声扩散,同时又能充分利用使用面积. 本文通过音乐研究所音乐棚的工程实践,证实了实现上述设想的可能性.  相似文献   

4.
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。  相似文献   

5.
艺海 《应用声学》2005,24(2):77-77
《演艺建筑声学装修设计》一书是由项端祈教授 和王峥、陈金京、项昆三位高级工程师合著、有关声学 装修的专著(2004年1月由机械工业出版社出版)。 该书是以内装修设计满足声学要求,使声学功能 与装修艺术融为一体为宗旨,简要阐述内装修设计必 须具备的声学基础知识、业务范围、装修设计(传统与 现代)与声学功能结合的实践活动,以及各类演艺建筑 声学装修设计的概况。  相似文献   

6.
王季卿 《声学学报》2015,(2):338-341
2014年9月15日是中国声学学会荣誉会士、国际著名声学家、美国声学学会荣誉会士、美国科学院院士Leo Beranek(白瑞纳克)博士百岁生日。美国声学学会与国际声频工程协会联合举行祝寿学术活动。波士顿交响乐团(Boston Symphony Orchestra)于9月18日晚为白瑞纳克博士举行专场交响音乐会。他的老学生们和各界友好在周五(9月19日)又于波士顿音乐厅内白瑞纳克纪念厅(Beranek Hall)举行寿庆,200余  相似文献   

7.
<正>日前收到美国声学学会寄来田静主编当选美国声学学会授予会士(Fellow)的通知和证书,以表彰其在声学领域的成就及其促进中美合作的贡献。中国声学学会理事长、声学学报(中、英)版主编田静先生长期从事电声与噪声学研究,在有源噪声与振动控制、电子抗噪声通讯器件、声频特征信号控制、声学微机电系统、交通噪声传播与评价、有限振幅声  相似文献   

8.
徐唯义 《应用声学》1982,1(4):52-52
国际标准化组织第43技术委员会(声学)编制的国际标准已由全国声学标准化技术委员会秘书处(地址在中国科学院声学研究所)组织翻译出版,共有41个标准,包括1981年6月前出版的声学方面所有的国际标准,中译本合订本分Ⅰ、Ⅱ两册.  相似文献   

9.
Economy,innovation.AcousticsinChinacallsforplanningandpromotionYingChongfu(InstituteofAcoustics,theChinese,AcademyofSciences,Beijing100080)1我国声学研究面临挑战新的世纪正在来临,千年交替之际又出现工业经济向知识经济的深刻转变。通过生产、扩散和高度利用,知识将以主角身分登上经济舞台,开拓新的时代。在变革的大风大浪中,在条件不足,措施不力时,有些知识却可能一时发挥不了应有的作用,甚至被贬低。部分人评估,近几年来,声学研究,除少数分支和少数项目外,处境困难。无论是在受重视的程度上,在所获得的成果…  相似文献   

10.
项端祈 《应用声学》2000,19(3):7-13
室内乐厅是以演奏室内乐为主、兼供独奏(唱)、音乐讲座、文娱演出和立体电影所用的多功能厅堂。为使各项功能均具有最佳的声学条件,设置了用计算机调控混响时间的装置。本文概要介绍室内乐厅的声学设计、但侧重于计算机调控混响时间所取得的成效。  相似文献   

11.
一种具有大影像、360度水平视野、接近于全方位的立体声效果,以高保真的声画环境将观众包围,使观众产生强烈临场感的全周影院在国际上也为数不多,而在我国建造更是一种新的尝试。本文通过介绍北京长城全周影院的音质设计和声学性能的测试说明,虽然这种新电影系统与常规电影有明显区别,具有很多特殊要求,但通过建筑、声学光学设计者的共同努力及密切配合,最终获得了视听性能的满意的结果,使影院达到了国际先进水平,也为全  相似文献   

12.
Places of worship, as well as other performing spaces or large arenas are characterized by lightweight pews or seats, with moderate or negligible upholstery, leading to very low absorption coefficients. Consequently, the audience becomes the most important sound absorbing element, capable of playing a fundamental role in determining the acoustic characteristics of the space. Consequently accurate knowledge of its acoustic properties is required for any design purpose. Several studies have been carried out with reference to audiences seated on upholstered theatre seats but there is a considerable lack of information about occupied pews. The well known difficulty of taking into account edge effects during such measurements poses further questions as well as the effect of the density of occupation, and the seasonal variations due to clothing. This paper presents the results of a series of laboratory measurements aimed at clarifying such aspects. The measurements showed that the edge effects are negligible and that total absorption is better related to the number of persons present than to the area they cover. Nonetheless, as the density grows, or when the audience is seated, there is a reduction in absorption which may be explained by the reduction in exposed body surface. Lightweight clothes show a considerable reduction in sound absorption over all the frequency bands, suggesting that significant seasonal fluctuations in reverberation time should be expected in places where the audience is the only sound absorbing surface.  相似文献   

13.
The question whether or not double basses can benefit from a compliant and radiating stage floor in the low end of their tonal register, similar to the well-known tuning fork-tabletop effect, was examined through field experiments in five concert halls. The topic comprises several aspects: (1) How well the mechanical impedances of double basses and the stage floor match, (2) amount of vibration velocity transmitted to the floor through the end pin of the bass, and (3) radiation efficiency of point-excited bending waves in the stage floor far below the coincidence frequency. Each aspect represents a prerequisite for the tuning fork-tabletop effect to take place. The input impedance at the end pin was measured for three representative double basses. The stage floors of five orchestra halls were measured with respect input impedance and damping, while sound radiation to the audience area was measured for two of them. In Lindeman Hall, Oslo, all conditions for the tuning fork-tabletop effect to take place were clearly met. The contribution from the stage-floor radiation to the sound pressure level in the audience area was found to be about 5 dB between 40 and 60 Hz, and even higher between 30 and 40 Hz.  相似文献   

14.
杭州剧院是一座多功能厅堂,观众厅的体积约10000m3,能容纳2000观众席,已于1978年9月竣工使用,观众反映音质效果比较好。在我们进行音质设计过程中,为了及早对设计方案作出评价,作了1:10的声学模型试验。本文概括给出某些试验的结果,并与剧院建成后实测进行比较。模型试验包括(1)木条子墙和“船形”扩散体天花的声学特性,(2)吸声材料的模拟,(3)混响时间,(4)反射声,(5)声场分布,(6)观众对前次反射声的影响,(7)方向性扩散,(8)清晰度,(9)主观评价。模型和实物的对比结果:满场的混响时间除250Hz的差别较大外(约20%),其余频率比较接近(差别少于10%);反射声图形是相似的;声场分布的差别少于2dB;观众对从台口侧墙来的前次反射声有影响,衰减约6dB;方向性扩散低于实测值,这是由于制造模型时省略一些细部所引起;清晰度和主观评价与观众的实际感受大致相符。  相似文献   

15.
The present study is concerned with optimum positions and orientations of theatre performers when acting off-stage in a moderate-sized theatre. It is a case study in which five theatre configurations of the drama theatre, a proscenium, an arena, and three extended stage configurations, have been numerically investigated after calibrating computer models with experimental data. An analysis of a human voice pattern in a free-field concluded that a speech in a range of the azimuth angle [−50°, 50°] with respect to the performer’s frontal direction is equally loud in a statistical sense. As a consequence of the directive human voice, an early energy ratio, Definition (D50), is higher within this azimuth angle range. By changing the orientation and/or the position of an actor, the mean D50 over the audience can be improved by more than one just noticeable difference (JND). In terms of uniformity and degree of speech intelligibility, the edge of the extended platform for the conventional and the boundary of the acting area for the arena and extended stage configurations are generally recommended.  相似文献   

16.
In this investigation the acoustic properties of ancient performance spaces for Greek and Roman drama were studied, from the viewpoint of material and design evolution. The paper first reviews the theatre evolution in antiquity. Following a systematic examination of computer simulation methodology for ancient Greek and Roman theatres, it then presents the results of a series of acoustic simulations in six typical theatre forms, using a beam-tracing program. Particular attention is paid to the scattering and diffraction from seat risers, which are important in outdoors theatres. Acoustic indices considered include sound pressure level, reverberation time and speech transmission index. The results show that in the evolution of ancient Greek and Roman theatres, changes in materials and theatre design generally resulted in acoustic improvements – the reverberation time had been increased and the sound level had been enhanced. Since the exact material characteristics are unknown, possible variations in acoustic performances are discussed based on simulations using a range of boundary absorption and scattering coefficients.  相似文献   

17.
刘力  蔡野锋  吴鸣  杨军 《应用声学》2015,34(1):7-16
针对目前室外及超大型室内空间的扩声应用中声场分布不均匀的问题,本文提出了一种基于最小二乘法声场重建方法的扩声技术。该技术通过对目标声场的逼近来计算线性扬声器阵列各通道的输入参数,实现扩声区域内声压级的均匀分布,同时约束非扩声区域的声能量以获得较好指向性。本文通过仿真研究算法各参数的改变对控制结果的影响,探讨不同扩声区域和目标所对应参数的选取方法。仿真和实验比较了该算法以及未经控制的声场、相移法波束控制的效果,证明该方法可以获得更好的声场均匀度。  相似文献   

18.
混响时间是反映时间域内声能衰变率的参量,它大体上可反映扩散空间内的主观混响感。但是,对于庭院等无顶空间而言是否适用,值得研究。因为在这些空间内,声能衰变过程中缺失了大量来自顶面的反射声,虽然混响时间可能变化不大,但会显著影响主观听觉上混响的感受。本文通过模拟声场的主观试听实验,发现反射声的方向性因素不可忽略,其对混响感有明显影响。由于混响时间是以单声道收录为界定的,因此,它不能充分反映无顶空间内的主观混响感。  相似文献   

19.
Historically, two equations have been used for predicting reverberation times, Sabine and Eyring. A precise means is presented for determining Eyring absorption coefficients alpha(eyring) when the Sabine coefficients alpha(sabine) are known, and vice versa. Thus, either formula can be used provided the absorption coefficients for the Sabine formula are allowed to exceed 1.0. The Sabine formula is not an approximation to the Eyring equation and is not a shortcoming. Given low reverberation times, the ratio of alpha(sabine) to alpha(eyring) may become greater than 2.0. It is vital that, for correct prediction of reverberation times, the absorption coefficients used in either formula must have been determined in spaces similar in size and shape, with similar locations of high absorption (audience) areas, and with similar reverberation times. For concert halls, it is found that, when the audience area (fully occupied) and midfrequency reverberation time are postulated, the hall volume is directly proportional to the audience absorption coefficient. Approximately 6% greater room volumes are needed when choosing nonrectangular versus classical-rectangular shaped halls and approximately 10% greater volumes when choosing heavily upholstered versus medium upholstered chairs. Determinations of audience sound absorption coefficients are presented, based on published acoustical and architectural data for 20 halls.  相似文献   

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