音乐厅响度评价新指标

响度是评价厅堂音质的最基本的参量之一,然而由于尚缺乏一个公认和可信的评价指标,如何评价厅堂响度的问题至今仍未妥善解决。本文建议将乐队齐奏强音标志乐段的平均声压级L_pF作为描述厅堂响度的指标,并给出了预计大厅L_pF值分布的计算方法。本文还示出两个厅堂L_pF的实测值并将之与预计算值作了比较,证实本计算方法的可行性。本文最后讨论了L_pF的优选值和容许值。     

音乐厅音质设计中响度评价参量的讨论

强感级(G,dB)是评价音乐厅音质设计中重要客观参量之一,它由厅内声级按标准声源的声功率级归一化得出。我们不仅考察厅内的总强感级G,还得分别考虑其早期声和后期声的G_早和G_后,因为它们的成因和主观效果是不同的。近年从主观试验结果中获得一个意外发现,即最低频段的G_低值与中频G_中值之比,将是决定厅内低音感的主要因素,而不是过去所说的低频和中频混响时间之比。10年前,人们认为环绕感LEV只由到达听者耳际的侧向声能所决定,如今则了解到后期总声能G_后这一因素也很重要。并提出由G和侧向比值LF来估算LFV的新公式,便于设计考虑。本文对音乐厅最佳G值作了讨论。近年的一个重要发现是,音乐厅内听者响度判断主要由混响声决定,或认为因视听综合心理效应使听者的响度判断与离舞台距离几乎无关,或两者兼具。后者涉及视觉信息输入影响听觉响度体验,即所谓多维感知综合效果的心理学问题。近年有人认为G参量不能直接反映音乐厅内听众听到的绝对声压级为由,提出以音乐片段中乐队齐奏强音标志段声级L_pf作为评价音乐厅响度的新物理指标。作者对此作了全面评析,说明其存在问题和不可行性。     

采用生理响度感知机制的车内噪声声品质预测

现有车内噪声声品质预测的响度计算中没有考虑真实人耳生理解剖结构的传声特性,因此提出了一种基于生理响度感知模型的车内噪声声品质预估方法。首先,采集两款轿车的车内噪声样本,并通过主观评价试验得到车内噪声的主观评价烦恼度。之后,整合中耳集总参数模型与耳蜗传输线模型,构建生理响度模型。然后,以生理响度模型的响度计算值为主要参数,结合尖锐度、粗糙度与车内噪声的主观评价值,通过TabNet模型构建了车辆声品质预测模型。最终,对比分析了所构建声品质模型与基于现有标准响度模型所构建的声品质模型的预测效果。结果表明,采用生理响度模型的声品质预测平均误差百分比仅有4.73%,优于采用Moore响度(6.13%)与Zwicker响度(6.94%)的声品质预测结果。此外,所构建的TabNet声品质预测模型的平均误差百分比也低于基于BP神经网络模型的平均误差百分比(7.60%)。采用生理响度模型的TabNet声品质预测能够提高车内噪声声品质客观评价的准确率。     

有关听力保持、语言可懂度和噪声干扰的噪声评价数

国际标准组织(ISO)发表了噪声评价数和响度级计算规范,下面介绍的是噪声评价数的部分.由于ISO在最近的会议(1964年5月)中决定采用感觉噪声级来表示响度,响度级计算的部分就从略了,下面另发表一篇介绍感觉噪声级的文章.噪声的物理测试结果(以声压测定为基础的)和主观感觉之间关系非常复杂,噪声评价数和感觉噪声级是近年来大量研究的结果,对我们的工作可能有参考价值.     

静态傅里叶变换红外光谱仪的公差分析

由于光谱分辨率或光谱信噪比只能作为光谱仪干涉系统的性能评价指标,但不能用于光学系统的公差分析与优化,所以将系统分为三个子系统:前置光学系统、干涉系统与后置光学系统,分别采用不同的评价标准分析系统公差。前置光学系统采用波像差为评价标准,给出波像差与光谱噪声的关系,分析误差对波像差的影响,间接给出各种误差对系统性能的影响。干涉系统直接采用光谱噪声作为评价标准,可直接给出各种误差对系统性能的影响。后置光学系统采用光斑尺寸作为评价标准。通过这种方法,计算出三个子系统的灵敏度矩阵,并且给出了前置光学系统与后置光学系统的公差分配。     

纺织品摩擦时的听觉风格评价的初步研究

为评价不同组织织物的摩擦听觉风格,建立了以刺耳度(C)、顺滑度(S)、响度(L)、沉闷度(D)、喜好度(B)和拟声词描述(O)的主观评价指标。采用语意评定法(SD法)将听觉风格指标各分为5级,并通过对随机抽取的21名合格纺织专业学生进行问卷调查与测试。研究结果表明：在纱线原料、线密度、经密等相同的情况下,织物摩擦听觉风格指标刺耳度(C)与响度(L)成正相关关系,而刺耳度(C)则分别与顺滑度(S)或者喜好度(B)之间存在着一定的负相关关系。听者对于织物摩擦声音的判别,女性的敏锐度明显高于男性。此外,平纹的刺耳度(C)、响度(L)和沉闷度(D)最高,而缎纹的顺滑度(S)和喜好度(B)最高。     

厅堂音质中的响度评价

厅堂音质评价的各项指标中,响度是最重要和最基本的内容之一。但由于长期来缺乏合适的参量,因此迄今无法在完工后的厅堂中去测量这项指标,当然也难以在设计阶段对此参量进行估算.不少人常把仅仅适用于稳态声源和混响场的声场估算法（即以直达声加上混响声）作为厅堂内各处总声强的评价,无论从音质设计和现场测量来看,显然很不合适。近年Lehmann提出以声强指数G（Starkemass）（dB）作为评价参量是一个好的建议。但根据我们的研究结果来看,鉴于早期反射声对响度起主导作用,因此厅堂内各处的声强指数应取50ms（语言）和80ms（音乐）的早期反射声积分值更符合实际,。以代替t从0积分到∞的评价方法。因此G_50ms和G_80ms将分别用于评价厅堂内对语言和音乐的响度评价参量。     

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。     

头相关传输函数幅度谱的听觉空间分辨阈值的分析

提出一种分析头相关传输函数(head-related transfer function,HRTF)幅度谱的听觉空间分辨阈值模型。采用数值计算得到的高空间分辨率HRTF数据,计算了声源空间位置变化引起的HRTF幅度谱的变化,进一步利用Moore响度模型分析双耳响度级差、双耳响度级谱和总响度级等三个听觉感知量的变化。根据现有的3个听觉感知量最小可察觉差异,模型利用双耳响度级差和双耳响度级谱的变化得到的估计结果与心理声学实验一致,因此是一种有效预测听觉空间分辨阈值的方法,可用于为简化虚拟听觉信号处理和数据储存。     

头相关传输函数幅度谱的听觉空间分辨阈值的分析

提出一种分析头相关传输函数(head-related transfer function,HRTF)幅度谱的听觉空间分辨阈值模型。采用数值计算得到的高空间分辨率HRTF数据,计算了声源空间位置变化引起的HRTF幅度谱的变化,进一步利用Moore响度模型分析双耳响度级差、双耳响度级谱和总响度级等三个听觉感知量的变化。根据现有的3个听觉感知量最小可察觉差异,模型利用双耳响度级差和双耳响度级谱的变化得到的估计结果与心理声学实验一致,因此是一种有效预测听觉空间分辨阈值的方法,可用于为简化虚拟听觉信号处理和数据储存。     

Taking account of loudness constancy for the loudness criterion for concert halls

One of the surprises from analysis of results of an objective and subjective study of British concert halls (1988 Acustica 66, 1–14) was that the subjective judgement of loudness in concert halls is influenced not only by sound level but also by the source–receiver distance. This response implies that the same sound level is judged louder at positions further from the orchestra platform. Whereas level decreases with distance in actual halls, loudness is judged more-or-less independent of position in average halls (except at positions close to the platform and seats overhung by balconies). As an observation it ties in with evidence from experimental psychologists for loudness constancy throughout a space. The sound strength G is the sound level in an auditorium normalised to the sound power level of the source; the traditional criterion of acceptability for level is that G ? 0 dB. The paper proposes that, on the basis of subjective evidence and objective behaviour in auditoria, the criterion for G should not be a unique value of G but rather a function of source–receiver distance.     

Sound strength and reverberation time in small concert halls

Sound strength and reverberation time measurements have been carried out in six small concert halls in Cambridge, UK. The sound strength G is a measure of the physical sound level in a concert hall and is closely related to the subjective sensation of loudness. It compares integrated impulse responses at a point in the measured room with that measured at ten metres distance in the free field.The aim of the measurements is to investigate the acoustic characteristics of the halls concerning sound strength and reverberation time. Furthermore the effect of the variable acoustics in the halls on these parameters is discussed in this paper. Especially for bigger ensembles it is often desirable to reduce the sound level in a small concert hall. The measurement results show that for a fixed hall volume, this can primarily be achieved by decreasing the reverberation time in the hall. However, with regard to the sound quality of a hall and the recommended reverberation times for chamber music, reverberation time cannot be reduced by an arbitrary extent. Therefore reverberation time and strength have to be balanced very carefully in order to obtain sufficient reverberation whilst at the same time avoiding excessive loudness. Finally the measured strength levels are compared to values derived from traditional and revised theory [Barron M, Lee L-J. Energy relations in concert auditoriums. J Acoust Soc Am 1988;84(2):618-28] on strength calculations in order to assess the accuracy of the theory for small chamber music halls. Possible reasons for the low measured strength levels observed are discussed with reference to related design features and objective acoustic parameters.     

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。     

The acoustical characterization of orchestra platforms and uncertainty estimation of the results

Measurements have been carried out on furnished orchestra platforms in four concert halls in Italy in order to describe the sound field perceived by musicians. The heterogeneous nature of the orchestra suggested a procedure able to take into account the mutual hearing between instrumental sections. The measured parameters were the early, late and total support, the reverberation time, the early decay time and the clarity index. A part of the study has been devoted to the measurement uncertainty estimation. The source directivity and the small displacements of the microphone influence the early decay time to a great extent while the on-platform spatial variability affects both the early decay time and the clarity index. Per-section early support shows differences that render the overall spatial mean inappropriate to describe the stage as a whole. For the other parameters an overall mean platform value can instead be suitable, even though, for the case of clarity a more evident group variability is observed. The values of late support, reverberation time, early decay time and clarity index, proposed in literature as suitable measures of reverberance for musicians, are not all intercorrelated, indicating that not all these parameters can be associated to the same subjective impression.     

Evaluation of stage acoustics in Seoul Arts Center Concert Hall by measuring stage support

Stage acoustics is an important characteristic for concert halls, both for the acoustic quality on stage and for the audience. However, relatively little research has been conducted into the question. This study was based on the investigation of an actual concert hall stage, that of the Seoul Arts Center Concert Hall in Korea. The stage acoustics was evaluated in the actual hall, and with two models: a 1:25 scale model and a computer model. The study was based on the stage support parameter ST1 proposed by Gade as a measure of support for individual performers [Acustica 65, 193-203 (1989)]. The variation of support was measured on the empty stage of the actual hall and in the two models. The effect of musicians on stage, the effect of moving the orchestra, the effect of ceiling height and of stage-wall profile were also investigated. Conclusions are drawn both relating to the Seoul Concert Hall stage and stages in general.     

Definition eines raumeindrucksmasses R zur bestimmung des raumeindrucks bei musikdarbietungen auf der grundlage subjektiver untersuchungen

The subjective impression of a room is an essential characteristic of the judgement of the acoustics of a concert hall. In parallel, the investigation ‘Synthetic Sound Fields’ will define a room impression index $\text{R}$ which can be derived from the impulse response of the room.The correlation between the calculated room impression index $\text{R}$ and the subjective judgement of room impression for 125 test sound fields was highly significant. A significant correlation is also obtained between the subjective impression in concert halls and the measured values of room impression index $\text{R}$.