Temporal and spatial acoustical factors for listeners in the boxes of historical opera theatres
Identifieur interne : 002118 ( Main/Exploration ); précédent : 002117; suivant : 002119Temporal and spatial acoustical factors for listeners in the boxes of historical opera theatres
Auteurs : H. Sakai [Japon] ; Y. Ando [Japon] ; N. Prodi [Italie] ; R. Pompoli [Italie]Source :
- Journal of sound and vibration [ 0022-460X ] ; 2002.
Descripteurs français
- Pascal (Inist)
English descriptors
- KwdEn :
Abstract
Acoustical measurements were conducted in a horseshoe-shaped opera house to clarify the acoustical quality of a sound field for listeners inside the boxes of an historical opera house. In order to investigate the effects of multiple reflections between the walls inside a box and scattering by the heads of people, the location of the receiver and the number of persons in the box were varied. In each configuration, four orthogonal factors and supplementary factors were derived as temporal and spatial factors by analysis of binaural impulse responses. Each factor is compared to that at a typical location in the stalls of the same theatre. An omni-directional sound source was located on the stage to emulate a singer or in the orchestra pit to reproduce the location of the musicians. Thus, in this paper, temporal and spatial factors in relation to subjective evaluation are characterized against changes in the listening conditions inside a box, and procedures for improvement and design methods for boxes are proposed. The main conclusions reached are as follows. As strong reflections from the lateral walls of a hall are screened by the front or side walls of a box for a receiver in a seat deeper in the box, the maximum listening level (LL) in the boxes was observed at the front of the box, and the maximum range of LL values for each box was found to be 5 dB. Concerning the initial time delay gap (Δt1), a more uniform listening environment was obtained in boxes further back in the theatre than in one closer to the stage. The subsequent reverberation time (Tsub) lengthens for boxes closer to the stage due to the stage house with its huge volume, and a peak is observed at 1 kHz. For the box at the back, Tsub monotonically decreases with frequency in the same way as in the stalls, and moreover, its values approach those in the stalls. As the contribution of multiple reflections relatively increases for a receiver deeper in the box, the IA CC in such positions decreases in comparison with that seen at the front of the box.
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Ando</name><affiliation wicri:level="1"><inist:fA14 i1="01"><s1>Graduate School of Science and Technology, Kobe University, Rokkodai</s1><s2>Nada, Kobe 657-8501</s2><s3>JPN</s3><sZ>1 aut.</sZ><sZ>2 aut.</sZ></inist:fA14><country>Japon</country><wicri:noRegion>Nada, Kobe 657-8501</wicri:noRegion></affiliation></author><author><name sortKey="Prodi, N" sort="Prodi, N" uniqKey="Prodi N" first="N." last="Prodi">N. Prodi</name><affiliation wicri:level="1"><inist:fA14 i1="02"><s1>Department of Engineering, University of Ferrara, Via Saragat 1</s1><s2>44100 Ferrara</s2><s3>ITA</s3><sZ>3 aut.</sZ><sZ>4 aut.</sZ></inist:fA14><country>Italie</country><wicri:noRegion>44100 Ferrara</wicri:noRegion></affiliation></author><author><name sortKey="Pompoli, R" sort="Pompoli, R" uniqKey="Pompoli R" first="R." last="Pompoli">R. Pompoli</name><affiliation wicri:level="1"><inist:fA14 i1="02"><s1>Department of Engineering, University of Ferrara, Via Saragat 1</s1><s2>44100 Ferrara</s2><s3>ITA</s3><sZ>3 aut.</sZ><sZ>4 aut.</sZ></inist:fA14><country>Italie</country><wicri:noRegion>44100 Ferrara</wicri:noRegion></affiliation></author></titleStmt><publicationStmt><idno type="wicri:source">INIST</idno><idno type="inist">03-0085505</idno><date when="2002">2002</date><idno type="stanalyst">PASCAL 03-0085505 INIST</idno><idno type="RBID">Pascal:03-0085505</idno><idno type="wicri:Area/PascalFrancis/Corpus">000542</idno><idno type="wicri:Area/PascalFrancis/Curation">000106</idno><idno type="wicri:Area/PascalFrancis/Checkpoint">000507</idno><idno type="wicri:doubleKey">0022-460X:2002:Sakai H:temporal:and:spatial</idno><idno type="wicri:Area/Main/Merge">002198</idno><idno type="wicri:Area/Main/Curation">002118</idno><idno type="wicri:Area/Main/Exploration">002118</idno></publicationStmt><sourceDesc><biblStruct><analytic><title xml:lang="en" level="a">Temporal and spatial acoustical factors for listeners in the boxes of historical opera theatres</title><author><name sortKey="Sakai, H" sort="Sakai, H" uniqKey="Sakai H" first="H." last="Sakai">H. Sakai</name><affiliation wicri:level="1"><inist:fA14 i1="01"><s1>Graduate School of Science and Technology, Kobe University, Rokkodai</s1><s2>Nada, Kobe 657-8501</s2><s3>JPN</s3><sZ>1 aut.</sZ><sZ>2 aut.</sZ></inist:fA14><country>Japon</country><wicri:noRegion>Nada, Kobe 657-8501</wicri:noRegion></affiliation></author><author><name sortKey="Ando, Y" sort="Ando, Y" uniqKey="Ando Y" first="Y." last="Ando">Y. Ando</name><affiliation wicri:level="1"><inist:fA14 i1="01"><s1>Graduate School of Science and Technology, Kobe University, Rokkodai</s1><s2>Nada, Kobe 657-8501</s2><s3>JPN</s3><sZ>1 aut.</sZ><sZ>2 aut.</sZ></inist:fA14><country>Japon</country><wicri:noRegion>Nada, Kobe 657-8501</wicri:noRegion></affiliation></author><author><name sortKey="Prodi, N" sort="Prodi, N" uniqKey="Prodi N" first="N." last="Prodi">N. Prodi</name><affiliation wicri:level="1"><inist:fA14 i1="02"><s1>Department of Engineering, University of Ferrara, Via Saragat 1</s1><s2>44100 Ferrara</s2><s3>ITA</s3><sZ>3 aut.</sZ><sZ>4 aut.</sZ></inist:fA14><country>Italie</country><wicri:noRegion>44100 Ferrara</wicri:noRegion></affiliation></author><author><name sortKey="Pompoli, R" sort="Pompoli, R" uniqKey="Pompoli R" first="R." last="Pompoli">R. Pompoli</name><affiliation wicri:level="1"><inist:fA14 i1="02"><s1>Department of Engineering, University of Ferrara, Via Saragat 1</s1><s2>44100 Ferrara</s2><s3>ITA</s3><sZ>3 aut.</sZ><sZ>4 aut.</sZ></inist:fA14><country>Italie</country><wicri:noRegion>44100 Ferrara</wicri:noRegion></affiliation></author></analytic><series><title level="j" type="main">Journal of sound and vibration</title><title level="j" type="abbreviated">J. sound vib.</title><idno type="ISSN">0022-460X</idno><imprint><date when="2002">2002</date></imprint></series></biblStruct></sourceDesc><seriesStmt><title level="j" type="main">Journal of sound and vibration</title><title level="j" type="abbreviated">J. sound vib.</title><idno type="ISSN">0022-460X</idno></seriesStmt></fileDesc><profileDesc><textClass><keywords scheme="KwdEn" xml:lang="en"><term>Acoustic reverberation</term><term>Binaural hearing</term><term>Concert hall</term><term>Pulse response</term><term>Room acoustics</term><term>Sound quality</term></keywords><keywords scheme="Pascal" xml:lang="fr"><term>Acoustique salle</term><term>Salle concert</term><term>Réponse impulsion</term><term>Réverbération acoustique</term><term>Qualité sonore</term><term>Audition binaurale</term><term>4355</term></keywords></textClass></profileDesc></teiHeader><front><div type="abstract" xml:lang="en">Acoustical measurements were conducted in a horseshoe-shaped opera house to clarify the acoustical quality of a sound field for listeners inside the boxes of an historical opera house. In order to investigate the effects of multiple reflections between the walls inside a box and scattering by the heads of people, the location of the receiver and the number of persons in the box were varied. In each configuration, four orthogonal factors and supplementary factors were derived as temporal and spatial factors by analysis of binaural impulse responses. Each factor is compared to that at a typical location in the stalls of the same theatre. An omni-directional sound source was located on the stage to emulate a singer or in the orchestra pit to reproduce the location of the musicians. Thus, in this paper, temporal and spatial factors in relation to subjective evaluation are characterized against changes in the listening conditions inside a box, and procedures for improvement and design methods for boxes are proposed. The main conclusions reached are as follows. As strong reflections from the lateral walls of a hall are screened by the front or side walls of a box for a receiver in a seat deeper in the box, the maximum listening level (LL) in the boxes was observed at the front of the box, and the maximum range of LL values for each box was found to be 5 dB. Concerning the initial time delay gap (Δt<sub>1</sub>), a more uniform listening environment was obtained in boxes further back in the theatre than in one closer to the stage. The subsequent reverberation time (T<sub>sub</sub>) lengthens for boxes closer to the stage due to the stage house with its huge volume, and a peak is observed at 1 kHz. For the box at the back, T<sub>sub</sub> monotonically decreases with frequency in the same way as in the stalls, and moreover, its values approach those in the stalls. As the contribution of multiple reflections relatively increases for a receiver deeper in the box, the IA CC in such positions decreases in comparison with that seen at the front of the box.</div></front></TEI><affiliations><list><country><li>Italie</li><li>Japon</li></country></list><tree><country name="Japon"><noRegion><name sortKey="Sakai, H" sort="Sakai, H" uniqKey="Sakai H" first="H." last="Sakai">H. Sakai</name></noRegion><name sortKey="Ando, Y" sort="Ando, Y" uniqKey="Ando Y" first="Y." last="Ando">Y. Ando</name></country><country name="Italie"><noRegion><name sortKey="Prodi, N" sort="Prodi, N" uniqKey="Prodi N" first="N." last="Prodi">N. Prodi</name></noRegion><name sortKey="Pompoli, R" sort="Pompoli, R" uniqKey="Pompoli R" first="R." last="Pompoli">R. Pompoli</name></country></tree></affiliations></record>Pour manipuler ce document sous Unix (Dilib)
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