舞台音乐罩对多功能专业化剧场音质改善的分析研究
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摘要
随着社会物质财富积叠,人们的精神生活需求在不断提高,欣赏高雅艺术的群体也在不断壮大,高雅艺术已成为社会流行符号,现在我国的文化氛围呈现出高雅艺术普及化、欣赏水平专业化、艺术形式需求多元化的局面。但是进行高雅艺术演出的专业剧院投资大,利用率低,维护管理费用高,多功能剧场又提供不了专业视听,目前我国人均经济水平还是很低,还属于发展中国家,地区经济发展又极不平衡,但是在国家西部大开发政策号召下和中东部地区中小城市的经济崛起,人才流动范围不再只局限于“北上广”,这种形式下多功能专业化剧场应运而生,多功能专业化剧场完全符合我国目前社会大部分地区发展现状,剧院可多功能使用,做到一厅多用,还能够提供专业视听,既提高了使用效率,市场化运作还可收回投资及提供日常维护管理的费用。因此多功能专业化剧场的建设具有很大的经济效益和社会效益。
舞台音乐罩是在多功能专业化剧场里进行自然声演出的必不可少的舞台设施,有无舞台音乐罩对剧场观众厅的音质影响很大,本文对舞台音乐罩改善各项声学指标情况进行了详细的梳理总结和分析,并对实际工程进行现场实测和计算机模拟,通过对数据的对比分析,验证了舞台音乐罩对剧场音质的改善,同时也为在工程设计过程中对剧场声学环境进行计算机模拟的可靠性提供了有利依据,避免了剧场建成后出现严重的音质缺陷,造成巨大的浪费;同时也为建筑师在进行剧场设计时选择合理的建筑形式和布局提供大量参考信息。
As the fast increasing society material wealth, people's demand on spiritual life and groups of enjoying the elegant arts are also growing. High classic art has become popular symbols, and now our culture life is now showing a mass of high classic art, appreciation professional, and diverse art forms demand situation. But professional theater for high classic art performances needs a lot of investment, but produces low utilization, and costs too much fund on the maintenance and management. China's per capita economic level is still low, but it’s a developing country, whose regional economic development is not in balance. Now the flow of talent is no longer limited to the scope of "north to Guangzhou". Under this situation, multi-functional professional theater came into being, Theater in the form can fully fit the social developing situation. the theater can be multi-functional use, but also can provide professional audio, which improve efficiency, and can recover the investment and operation to provide daily maintenance and management costs. Therefore, the construction of multi-functional professional theater has great economic and social benefits.
Acoustic reflecting cover is essential stage facilities for multi-functional professional theater performances, which produces theater auditorium sound quality of great influence. This paper is aim to the index of acoutic reflecting cover to improve the situation, puts out a detailed summary and analysis, and the actual project site measurement and computer simulation. Through comparative analysis of the data, it verifies the acoutic reflecting cover for theater improvements in sound quality, but also in the engineering design process of the theater acoustic environment the reliability of computer simulation provides a favorable basis, which avoids the theater’s serious quality defects after the completion, causing huge waste; but also for the selection of the architect during the theater design and layout of architectural forms and provide a lot of reference information.
舞台音乐罩是在多功能专业化剧场里进行自然声演出的必不可少的舞台设施,有无舞台音乐罩对剧场观众厅的音质影响很大,本文对舞台音乐罩改善各项声学指标情况进行了详细的梳理总结和分析,并对实际工程进行现场实测和计算机模拟,通过对数据的对比分析,验证了舞台音乐罩对剧场音质的改善,同时也为在工程设计过程中对剧场声学环境进行计算机模拟的可靠性提供了有利依据,避免了剧场建成后出现严重的音质缺陷,造成巨大的浪费;同时也为建筑师在进行剧场设计时选择合理的建筑形式和布局提供大量参考信息。
As the fast increasing society material wealth, people's demand on spiritual life and groups of enjoying the elegant arts are also growing. High classic art has become popular symbols, and now our culture life is now showing a mass of high classic art, appreciation professional, and diverse art forms demand situation. But professional theater for high classic art performances needs a lot of investment, but produces low utilization, and costs too much fund on the maintenance and management. China's per capita economic level is still low, but it’s a developing country, whose regional economic development is not in balance. Now the flow of talent is no longer limited to the scope of "north to Guangzhou". Under this situation, multi-functional professional theater came into being, Theater in the form can fully fit the social developing situation. the theater can be multi-functional use, but also can provide professional audio, which improve efficiency, and can recover the investment and operation to provide daily maintenance and management costs. Therefore, the construction of multi-functional professional theater has great economic and social benefits.
Acoustic reflecting cover is essential stage facilities for multi-functional professional theater performances, which produces theater auditorium sound quality of great influence. This paper is aim to the index of acoutic reflecting cover to improve the situation, puts out a detailed summary and analysis, and the actual project site measurement and computer simulation. Through comparative analysis of the data, it verifies the acoutic reflecting cover for theater improvements in sound quality, but also in the engineering design process of the theater acoustic environment the reliability of computer simulation provides a favorable basis, which avoids the theater’s serious quality defects after the completion, causing huge waste; but also for the selection of the architect during the theater design and layout of architectural forms and provide a lot of reference information.
引文
1项端祈.多功能剧院的舞台音乐罩.音响与技术. 2005, (4): 25~39
2宋效曾.解码音乐罩.演艺设备与科技. 2005, (4): 40~42
3项端祈.剧院建筑的声学设计.演艺设备与科技. 2005, (1): 14
4 [美]威廉J?卡瓦诺夫,约瑟夫A?威尔克斯.建筑声学—原理和实践.赵樱译.北京:机械工业出版社, 2004: 37~38, 145~146, 202~203
5 Lawrence, Anita. Acoustics and the built environment.New York:Elsevier science Publishers LTD, 1989: 93, 97~102
6杜铭秋.音乐厅音质设计中顶棚作用的研究.中国博士学位论文全文数据库. 2009, (1): 40
7 Nsgata M.Design problems of concert hall acoustics.J. Acoust.Soc. Jpn. (E), 1989, 10(2): 59~72
8 [美]白瑞纳克.音乐厅和歌剧院.王季卿,戴根华,项端祈等译.上海:同济大学出版社, 2002, 426~427, 487~488, 500~501, 561
9吴硕贤,张三明,葛坚.建筑声学设计原理.北京:中国建筑工业出版社, 2000: 124~127
10蒋国荣,王季卿.早期声在厅堂中的分布.声学学报. 2000, 25 (3): 193~194
11项端祈.实用建筑声学.北京:中国建筑工业出版社, 1986: 232~235
12项端祈.厅堂声学的新进展——剧院可调混响设计的研究与实践.建筑创作. 2000, (1): 59
13王峥,项端祈,陈金京等.建筑声学材料与结构—设计和应用.北京:机械工业出版社, 2006, 32, 97~100
14项端祈.音乐建筑—音乐?声学?建筑.北京:中国建筑工业出版社, 1999, 59~70, 95, 99~102, 186~211, 231~233
15韩金晨,叶恒建.杭州剧院的舞台反射板设计.应用声学. 7卷,(2): 22
16陈继浩.隔声屏障结构声学模拟?设计与性能优化应用研究.博士论文
17吴硕贤,张三明,葛坚.建筑声学设计原理.北京:中国建筑工业出版社, 2000: 124~127
18扈军.舞台声学特性研究: [硕士学位论文].杭州:浙江大学, 2000, 31
19中国建筑科学院建筑物理研究所.建筑声学设计手册.北京:中国建筑工业出版社, 1987: 534, 541~546
20 [德]Cremer L,H.A.Muller.室内声学设计原理及其应用.王季卿,沈壕译.上海:同济大学出版社, 1995: 55~68
21 Marshall A.H.,D.Gottlob,H.Alrutz.J.Acoust.Soc.Am.1978,(64):1437~1442
22 Barron, M.Auditorium Acoustics and architectural Design.(E&FN Spon). London & New York: Chapman & Hall, 1993: 56~61
23 GADE A C.Investigations of musicians′room acoustic conditions in concert halls I: methods and laboratory ex-periments[J].Acustica,1989,69:193~203.
24 GADE A C.Investigations of musicians′room acoustic conditions in concert halls II:field experiments and sythesis of results[J].Acustica,1989,69:249~262.
25 CHIANG W,SHU Y.Acoustical design of stages wlarge plane surfaces in rectangular recital halls[J].AppliAcoustics,2003,64(9):863~884.
26彭健新,吴硕贤,赵越喆.建筑声学软件ODEN及其在工程商的应用.电声技术, 2002, (5): 14
27 J.S.Bradley.Some effects of orchestra shells.The Journal of the Acoustical Society of America. 1996, 100(2): 889~899
28吴硕贤.音乐罩的声学效果与设计.南方建筑. 1998, (4): 71~73
29 T.Halmrast. Orchestral timbre:comb-Filter coloration from reflections. J.SoundVib. 2000, 232(1): 53~69
30 Jens Joegen Dammerud. Stageacoustics----Literaturereview. www.akutek.infoPapers/JJD_stage_acoustics.Pdf
31 Gade, A.C.,Musicians’room acoustic conditions in concert halls I:Methods andlaboratory experiments.Acustica 69 [1989].193
32 arron.M.,The Gulbenkian Great Hall,Lisbon II:An acoustic study of a concert hall with variable stage.J.Sound Vib.59 [1978]. 481
33 Marshall, A.H.,Gottlob, D.,and Alrutz,H..Acoustical conditions preferred forensemble.J.Acoust.Soc.Amer. 64 [1978].1437
34 Kanako Ueno, Hideki Tachibana.Experimental study on the evaluation of stage acoustics by musicians using a 6-channel sound simulationsystem. Acoust.Sci. &T ech.24,3(2003), 130~138
35 V.L.Jordan,Acoustics Design of Concert HallS and Theatre
36韩金晨.舞台反射板的声学效应和设计问题.北京:清华大学硕士学位论文. 1982: 44
37秦佑国,王炳麟编著.建筑声环境.第二版,北京:清华大学出版社, 1999
38马大猷,沈壕.声学手册.北京.科学出版社, 1983: 112
39刘振亚.现代剧场设计.北京:中国建筑工业出版社, 2000: 171~173
40章奎生,杨志刚,王静波,宋拥民.七个演艺建筑工程的声学设计与音质效果.演艺设备与科技. 2008, (2): 32~34
41石坚韧.适应性剧场音质设计研究.杭州:浙江大学硕士学位论文. 2000: 31
42章奎生等.三种可变混响吸声体的设计与试验.声学技术. 1997, 16(4): 169
43 Lothar Cremer,Helmut A.Muller.Principles and Applications of RoomAcoustics, Theodore J.Schultz. New York,Appl ied Sciencepublishers, 1978
44 Takayuki Hidaka ? Leo L.Beranek,Objective and subjective evaluatJonsof twenty—three opera houses in Europe,Japan,and the Americas,THEJOURNAL of the Acoustical Society of America. 2000, 107(1): 368~383
45 W.A.Allen, Music Stage Design,J.Sound&Vib, 1980, 69(1)
46 T.Somerville, C.L.S.Gilford, N.E Spring, R.D.M.Negus. Recent work on the effects of reflectors in concert halls and music studios.Journal of Sound and vibration 3(1966): 1, 27
47 A.C.Gade,“Investigations of Musicians’Room Acoustic Conditionsin Concert HallS.II:field Experiments and SynthesiS of Results.”Acustica,1989,69: 249~262
48 Marshall A.H., D.Gottlob, H.Alrutz.J.Acoust.Soc.Am. 1978, (64): 1437~1442
49 BORK I.A comparison of room simulation software-The2nd round robin on room acoustical computer simulation[J].Acustica 2000,86(6):943~956.
50 LAM Y W.Modeling room acoustics in non-concert hallsettings[C]. International Symposium on Room Acoustics:Design and Science(RADS)Paper A02, Kyoto, Japan
51 Kanako Ueno , Hideki Tachibana . Cognitive modeling of musician’S perception inconcert halls.Acoust.Sci.&Tech.2005,26 (2):156~161
52 Sato,Y Ando.Subj ective preference of cellists for the delay time of a singlereflection in aperformance.J.Sound Vib.2000,232(1):27~37.
2宋效曾.解码音乐罩.演艺设备与科技. 2005, (4): 40~42
3项端祈.剧院建筑的声学设计.演艺设备与科技. 2005, (1): 14
4 [美]威廉J?卡瓦诺夫,约瑟夫A?威尔克斯.建筑声学—原理和实践.赵樱译.北京:机械工业出版社, 2004: 37~38, 145~146, 202~203
5 Lawrence, Anita. Acoustics and the built environment.New York:Elsevier science Publishers LTD, 1989: 93, 97~102
6杜铭秋.音乐厅音质设计中顶棚作用的研究.中国博士学位论文全文数据库. 2009, (1): 40
7 Nsgata M.Design problems of concert hall acoustics.J. Acoust.Soc. Jpn. (E), 1989, 10(2): 59~72
8 [美]白瑞纳克.音乐厅和歌剧院.王季卿,戴根华,项端祈等译.上海:同济大学出版社, 2002, 426~427, 487~488, 500~501, 561
9吴硕贤,张三明,葛坚.建筑声学设计原理.北京:中国建筑工业出版社, 2000: 124~127
10蒋国荣,王季卿.早期声在厅堂中的分布.声学学报. 2000, 25 (3): 193~194
11项端祈.实用建筑声学.北京:中国建筑工业出版社, 1986: 232~235
12项端祈.厅堂声学的新进展——剧院可调混响设计的研究与实践.建筑创作. 2000, (1): 59
13王峥,项端祈,陈金京等.建筑声学材料与结构—设计和应用.北京:机械工业出版社, 2006, 32, 97~100
14项端祈.音乐建筑—音乐?声学?建筑.北京:中国建筑工业出版社, 1999, 59~70, 95, 99~102, 186~211, 231~233
15韩金晨,叶恒建.杭州剧院的舞台反射板设计.应用声学. 7卷,(2): 22
16陈继浩.隔声屏障结构声学模拟?设计与性能优化应用研究.博士论文
17吴硕贤,张三明,葛坚.建筑声学设计原理.北京:中国建筑工业出版社, 2000: 124~127
18扈军.舞台声学特性研究: [硕士学位论文].杭州:浙江大学, 2000, 31
19中国建筑科学院建筑物理研究所.建筑声学设计手册.北京:中国建筑工业出版社, 1987: 534, 541~546
20 [德]Cremer L,H.A.Muller.室内声学设计原理及其应用.王季卿,沈壕译.上海:同济大学出版社, 1995: 55~68
21 Marshall A.H.,D.Gottlob,H.Alrutz.J.Acoust.Soc.Am.1978,(64):1437~1442
22 Barron, M.Auditorium Acoustics and architectural Design.(E&FN Spon). London & New York: Chapman & Hall, 1993: 56~61
23 GADE A C.Investigations of musicians′room acoustic conditions in concert halls I: methods and laboratory ex-periments[J].Acustica,1989,69:193~203.
24 GADE A C.Investigations of musicians′room acoustic conditions in concert halls II:field experiments and sythesis of results[J].Acustica,1989,69:249~262.
25 CHIANG W,SHU Y.Acoustical design of stages wlarge plane surfaces in rectangular recital halls[J].AppliAcoustics,2003,64(9):863~884.
26彭健新,吴硕贤,赵越喆.建筑声学软件ODEN及其在工程商的应用.电声技术, 2002, (5): 14
27 J.S.Bradley.Some effects of orchestra shells.The Journal of the Acoustical Society of America. 1996, 100(2): 889~899
28吴硕贤.音乐罩的声学效果与设计.南方建筑. 1998, (4): 71~73
29 T.Halmrast. Orchestral timbre:comb-Filter coloration from reflections. J.SoundVib. 2000, 232(1): 53~69
30 Jens Joegen Dammerud. Stageacoustics----Literaturereview. www.akutek.infoPapers/JJD_stage_acoustics.Pdf
31 Gade, A.C.,Musicians’room acoustic conditions in concert halls I:Methods andlaboratory experiments.Acustica 69 [1989].193
32 arron.M.,The Gulbenkian Great Hall,Lisbon II:An acoustic study of a concert hall with variable stage.J.Sound Vib.59 [1978]. 481
33 Marshall, A.H.,Gottlob, D.,and Alrutz,H..Acoustical conditions preferred forensemble.J.Acoust.Soc.Amer. 64 [1978].1437
34 Kanako Ueno, Hideki Tachibana.Experimental study on the evaluation of stage acoustics by musicians using a 6-channel sound simulationsystem. Acoust.Sci. &T ech.24,3(2003), 130~138
35 V.L.Jordan,Acoustics Design of Concert HallS and Theatre
36韩金晨.舞台反射板的声学效应和设计问题.北京:清华大学硕士学位论文. 1982: 44
37秦佑国,王炳麟编著.建筑声环境.第二版,北京:清华大学出版社, 1999
38马大猷,沈壕.声学手册.北京.科学出版社, 1983: 112
39刘振亚.现代剧场设计.北京:中国建筑工业出版社, 2000: 171~173
40章奎生,杨志刚,王静波,宋拥民.七个演艺建筑工程的声学设计与音质效果.演艺设备与科技. 2008, (2): 32~34
41石坚韧.适应性剧场音质设计研究.杭州:浙江大学硕士学位论文. 2000: 31
42章奎生等.三种可变混响吸声体的设计与试验.声学技术. 1997, 16(4): 169
43 Lothar Cremer,Helmut A.Muller.Principles and Applications of RoomAcoustics, Theodore J.Schultz. New York,Appl ied Sciencepublishers, 1978
44 Takayuki Hidaka ? Leo L.Beranek,Objective and subjective evaluatJonsof twenty—three opera houses in Europe,Japan,and the Americas,THEJOURNAL of the Acoustical Society of America. 2000, 107(1): 368~383
45 W.A.Allen, Music Stage Design,J.Sound&Vib, 1980, 69(1)
46 T.Somerville, C.L.S.Gilford, N.E Spring, R.D.M.Negus. Recent work on the effects of reflectors in concert halls and music studios.Journal of Sound and vibration 3(1966): 1, 27
47 A.C.Gade,“Investigations of Musicians’Room Acoustic Conditionsin Concert HallS.II:field Experiments and SynthesiS of Results.”Acustica,1989,69: 249~262
48 Marshall A.H., D.Gottlob, H.Alrutz.J.Acoust.Soc.Am. 1978, (64): 1437~1442
49 BORK I.A comparison of room simulation software-The2nd round robin on room acoustical computer simulation[J].Acustica 2000,86(6):943~956.
50 LAM Y W.Modeling room acoustics in non-concert hallsettings[C]. International Symposium on Room Acoustics:Design and Science(RADS)Paper A02, Kyoto, Japan
51 Kanako Ueno , Hideki Tachibana . Cognitive modeling of musician’S perception inconcert halls.Acoust.Sci.&Tech.2005,26 (2):156~161
52 Sato,Y Ando.Subj ective preference of cellists for the delay time of a singlereflection in aperformance.J.Sound Vib.2000,232(1):27~37.