Serveur d'exploration sur l'opéra

Attention, ce site est en cours de développement !
Attention, site généré par des moyens informatiques à partir de corpus bruts.
Les informations ne sont donc pas validées.

Temporal and spatial acoustical factors for listeners in the boxes of historical opera theatres

Identifieur interne : 000507 ( PascalFrancis/Checkpoint ); précédent : 000506; suivant : 000508

Temporal 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 :

RBID : Pascal:03-0085505

Descripteurs français

English descriptors

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.


Affiliations:


Links toward previous steps (curation, corpus...)


Links to Exploration step

Pascal:03-0085505

Le document en format XML

<record>
<TEI>
<teiHeader>
<fileDesc>
<titleStmt>
<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>
</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>
</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>
<inist>
<standard h6="B">
<pA>
<fA01 i1="01" i2="1">
<s0>0022-460X</s0>
</fA01>
<fA02 i1="01">
<s0>JSVIAG</s0>
</fA02>
<fA03 i2="1">
<s0>J. sound vib.</s0>
</fA03>
<fA05>
<s2>258</s2>
</fA05>
<fA06>
<s2>3</s2>
</fA06>
<fA08 i1="01" i2="1" l="ENG">
<s1>Temporal and spatial acoustical factors for listeners in the boxes of historical opera theatres</s1>
</fA08>
<fA09 i1="01" i2="1" l="ENG">
<s1>Concert hall acoustics and opera house acoustics</s1>
</fA09>
<fA11 i1="01" i2="1">
<s1>SAKAI (H.)</s1>
</fA11>
<fA11 i1="02" i2="1">
<s1>ANDO (Y.)</s1>
</fA11>
<fA11 i1="03" i2="1">
<s1>PRODI (N.)</s1>
</fA11>
<fA11 i1="04" i2="1">
<s1>POMPOLI (R.)</s1>
</fA11>
<fA12 i1="01" i2="1">
<s1>ANDO (Y.)</s1>
<s9>ed.</s9>
</fA12>
<fA12 i1="02" i2="1">
<s1>POMPOLI (R.)</s1>
<s9>ed.</s9>
</fA12>
<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>
</fA14>
<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>
</fA14>
<fA15 i1="01">
<s1>Graduate School of Science and Technology, Kobe University, Rokkodai, Nada</s1>
<s2>Kobe 657-8501</s2>
<s3>JPN</s3>
<sZ>1 aut.</sZ>
</fA15>
<fA15 i1="02">
<s1>Faculty of Engineering, University of Ferrara, Via Saragat</s1>
<s2>44 100 Ferrara</s2>
<s3>ITA</s3>
<sZ>2 aut.</sZ>
</fA15>
<fA20>
<s1>527-547</s1>
</fA20>
<fA21>
<s1>2002</s1>
</fA21>
<fA23 i1="01">
<s0>ENG</s0>
</fA23>
<fA43 i1="01">
<s1>INIST</s1>
<s2>11530</s2>
<s5>354000106824750110</s5>
</fA43>
<fA44>
<s0>0000</s0>
<s1>© 2003 INIST-CNRS. All rights reserved.</s1>
</fA44>
<fA45>
<s0>10 ref.</s0>
</fA45>
<fA47 i1="01" i2="1">
<s0>03-0085505</s0>
</fA47>
<fA60>
<s1>P</s1>
<s2>C</s2>
</fA60>
<fA61>
<s0>A</s0>
</fA61>
<fA64 i1="01" i2="1">
<s0>Journal of sound and vibration</s0>
</fA64>
<fA66 i1="01">
<s0>GBR</s0>
</fA66>
<fC01 i1="01" l="ENG">
<s0>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.</s0>
</fC01>
<fC02 i1="01" i2="X">
<s0>001B40C55</s0>
</fC02>
<fC03 i1="01" i2="X" l="FRE">
<s0>Acoustique salle</s0>
<s5>01</s5>
</fC03>
<fC03 i1="01" i2="X" l="ENG">
<s0>Room acoustics</s0>
<s5>01</s5>
</fC03>
<fC03 i1="01" i2="X" l="SPA">
<s0>Acústica sala</s0>
<s5>01</s5>
</fC03>
<fC03 i1="02" i2="X" l="FRE">
<s0>Salle concert</s0>
<s5>02</s5>
</fC03>
<fC03 i1="02" i2="X" l="ENG">
<s0>Concert hall</s0>
<s5>02</s5>
</fC03>
<fC03 i1="02" i2="X" l="SPA">
<s0>Sala concierto</s0>
<s5>02</s5>
</fC03>
<fC03 i1="03" i2="X" l="FRE">
<s0>Réponse impulsion</s0>
<s5>03</s5>
</fC03>
<fC03 i1="03" i2="X" l="ENG">
<s0>Pulse response</s0>
<s5>03</s5>
</fC03>
<fC03 i1="03" i2="X" l="SPA">
<s0>Respuesta impulsión</s0>
<s5>03</s5>
</fC03>
<fC03 i1="04" i2="X" l="FRE">
<s0>Réverbération acoustique</s0>
<s5>04</s5>
</fC03>
<fC03 i1="04" i2="X" l="ENG">
<s0>Acoustic reverberation</s0>
<s5>04</s5>
</fC03>
<fC03 i1="04" i2="X" l="SPA">
<s0>Reverberatión aćustica</s0>
<s5>04</s5>
</fC03>
<fC03 i1="05" i2="X" l="FRE">
<s0>Qualité sonore</s0>
<s5>11</s5>
</fC03>
<fC03 i1="05" i2="X" l="ENG">
<s0>Sound quality</s0>
<s5>11</s5>
</fC03>
<fC03 i1="05" i2="X" l="SPA">
<s0>Calidad sonora</s0>
<s5>11</s5>
</fC03>
<fC03 i1="06" i2="X" l="FRE">
<s0>Audition binaurale</s0>
<s5>12</s5>
</fC03>
<fC03 i1="06" i2="X" l="ENG">
<s0>Binaural hearing</s0>
<s5>12</s5>
</fC03>
<fC03 i1="06" i2="X" l="SPA">
<s0>Audición binaural</s0>
<s5>12</s5>
</fC03>
<fC03 i1="07" i2="X" l="FRE">
<s0>4355</s0>
<s2>PAC</s2>
<s4>INC</s4>
<s5>56</s5>
</fC03>
<fN21>
<s1>048</s1>
</fN21>
<fN82>
<s1>PSI</s1>
</fN82>
</pA>
<pR>
<fA30 i1="01" i2="1" l="ENG">
<s1>ICA: International Conference on Acoustics</s1>
<s2>17</s2>
<s3>Rome ITA</s3>
<s4>2001-09-03</s4>
</fA30>
</pR>
</standard>
</inist>
<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)

EXPLOR_STEP=$WICRI_ROOT/Wicri/Musique/explor/OperaV1/Data/PascalFrancis/Checkpoint
HfdSelect -h $EXPLOR_STEP/biblio.hfd -nk 000507 | SxmlIndent | more

Ou

HfdSelect -h $EXPLOR_AREA/Data/PascalFrancis/Checkpoint/biblio.hfd -nk 000507 | SxmlIndent | more

Pour mettre un lien sur cette page dans le réseau Wicri

{{Explor lien
   |wiki=    Wicri/Musique
   |area=    OperaV1
   |flux=    PascalFrancis
   |étape=   Checkpoint
   |type=    RBID
   |clé=     Pascal:03-0085505
   |texte=   Temporal and spatial acoustical factors for listeners in the boxes of historical opera theatres
}}

Wicri

This area was generated with Dilib version V0.6.21.
Data generation: Thu Apr 14 14:59:05 2016. Site generation: Thu Oct 8 06:48:41 2020