Acoustical design and measurement of a circular hall, improving a spatial factor at each seat
Identifieur interne :
000036 ( PascalFrancis/Curation );
précédent :
000035;
suivant :
000037
Acoustical design and measurement of a circular hall, improving a spatial factor at each seat
Auteurs : A. Takatsu [
Japon] ;
S. Hase [
Japon] ;
H. Sakai [
Japon] ;
S. Sato [
Japon] ;
Y. Ando [
Japon]
Source :
-
Journal of sound and vibration [ 0022-460X ] ; 2000.
RBID : Pascal:00-0263234
Descripteurs français
- Pascal (Inist)
- Méthode mesure,
Mesure acoustique,
Evaluation subjective,
Siège,
Japon,
Musique,
Réflecteur,
Simulation ordinateur,
Salle concert,
Acoustique salle,
Haut parleur,
Signal acoustique,
4355.
- Wicri :
English descriptors
- KwdEn :
- Acoustic measurement,
Acoustic signal,
Computer simulation,
Concert hall,
Japan,
Loudspeaker,
Measurement method,
Music,
Reflector,
Room acoustics,
Seat,
Subjective evaluation.
Abstract
A round-shaped multi-purpose-event hall with 400 seats (ORBIS Hall: Kobe, Japan) was designed based on the subjective-preference theory of sound fields. To maximize the total scale value of subjective preference at each seat, various is pieces of acoustical equipment were designed. One of the four orthogonal factors of a sound field, the IACC was taken into consideration to ensure the effects of the equipment by acoustical simulation in the design stage. After construction of the hall, acoustical measurements of IA CC were conducted by use of two music motifs. The IACC using the music motifs was much improved due to scattered reflectors, which are installed at each sidewall, and near to and in ceilings, than that of the simulation in the design stage.
| pA |
| A01 | 01 | 1 | | @0 0022-460X |
|---|
| A02 | 01 | | | @0 JSVIAG |
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| A03 | | 1 | | @0 J. sound vib. |
|---|
| A05 | | | | @2 232 |
|---|
| A06 | | | | @2 1 |
|---|
| A08 | 01 | 1 | ENG | @1 Acoustical design and measurement of a circular hall, improving a spatial factor at each seat |
|---|
| A09 | 01 | 1 | ENG | @1 Workshop on opera house acoustic, Seattle, June 1998 |
|---|
| A11 | 01 | 1 | | @1 TAKATSU (A.) |
|---|
| A11 | 02 | 1 | | @1 HASE (S.) |
|---|
| A11 | 03 | 1 | | @1 SAKAI (H.) |
|---|
| A11 | 04 | 1 | | @1 SATO (S.) |
|---|
| A11 | 05 | 1 | | @1 ANDO (Y.) |
|---|
| A14 | 01 | | | @1 Graduate School of Science and Technology, Kobe University @2 Kobe 657-8501 @3 JPN @Z 1 aut. @Z 2 aut. @Z 3 aut. @Z 4 aut. @Z 5 aut. |
|---|
| A18 | 01 | 1 | | @1 Interuniversity Centre for Acoustics and Musical Research @3 ITA @9 patr. |
|---|
| A18 | 02 | 1 | | @1 Music and Concert Hall Acoustics @3 JPN @9 patr. |
|---|
| A18 | 03 | 1 | | @1 ASA. Technical Committee of Architectural Acoustics @3 USA @9 patr. |
|---|
| A20 | | | | @1 263-273 |
|---|
| A21 | | | | @1 2000 |
|---|
| A23 | 01 | | | @0 ENG |
|---|
| A43 | 01 | | | @1 INIST @2 11530 @5 354000087541380200 |
|---|
| A44 | | | | @0 0000 @1 © 2000 INIST-CNRS. All rights reserved. |
|---|
| A45 | | | | @0 8 ref. |
|---|
| A47 | 01 | 1 | | @0 00-0263234 |
|---|
| A60 | | | | @1 P @2 C |
|---|
| A61 | | | | @0 A |
|---|
| A64 | 01 | 1 | | @0 Journal of sound and vibration |
|---|
| A66 | 01 | | | @0 GBR |
|---|
| C01 | 01 | | ENG | @0 A round-shaped multi-purpose-event hall with 400 seats (ORBIS Hall: Kobe, Japan) was designed based on the subjective-preference theory of sound fields. To maximize the total scale value of subjective preference at each seat, various is pieces of acoustical equipment were designed. One of the four orthogonal factors of a sound field, the IACC was taken into consideration to ensure the effects of the equipment by acoustical simulation in the design stage. After construction of the hall, acoustical measurements of IA CC were conducted by use of two music motifs. The IACC using the music motifs was much improved due to scattered reflectors, which are installed at each sidewall, and near to and in ceilings, than that of the simulation in the design stage. |
|---|
| C02 | 01 | X | | @0 001B40C55 |
|---|
| C03 | 01 | X | FRE | @0 Méthode mesure @5 01 |
|---|
| C03 | 01 | X | ENG | @0 Measurement method @5 01 |
|---|
| C03 | 01 | X | SPA | @0 Método medida @5 01 |
|---|
| C03 | 02 | X | FRE | @0 Mesure acoustique @5 02 |
|---|
| C03 | 02 | X | ENG | @0 Acoustic measurement @5 02 |
|---|
| C03 | 02 | X | SPA | @0 Medida acústica @5 02 |
|---|
| C03 | 03 | X | FRE | @0 Evaluation subjective @5 03 |
|---|
| C03 | 03 | X | ENG | @0 Subjective evaluation @5 03 |
|---|
| C03 | 03 | X | SPA | @0 Evaluación subjetiva @5 03 |
|---|
| C03 | 04 | X | FRE | @0 Siège @5 04 |
|---|
| C03 | 04 | X | ENG | @0 Seat @5 04 |
|---|
| C03 | 04 | X | SPA | @0 Asiento @5 04 |
|---|
| C03 | 05 | X | FRE | @0 Japon @2 NG @5 05 |
|---|
| C03 | 05 | X | ENG | @0 Japan @2 NG @5 05 |
|---|
| C03 | 05 | X | SPA | @0 Japón @2 NG @5 05 |
|---|
| C03 | 06 | X | FRE | @0 Musique @5 06 |
|---|
| C03 | 06 | X | ENG | @0 Music @5 06 |
|---|
| C03 | 06 | X | SPA | @0 Música @5 06 |
|---|
| C03 | 07 | X | FRE | @0 Réflecteur @5 07 |
|---|
| C03 | 07 | X | ENG | @0 Reflector @5 07 |
|---|
| C03 | 07 | X | SPA | @0 Reflector @5 07 |
|---|
| C03 | 08 | X | FRE | @0 Simulation ordinateur @5 08 |
|---|
| C03 | 08 | X | ENG | @0 Computer simulation @5 08 |
|---|
| C03 | 08 | X | SPA | @0 Simulación computadora @5 08 |
|---|
| C03 | 09 | X | FRE | @0 Salle concert @5 09 |
|---|
| C03 | 09 | X | ENG | @0 Concert hall @5 09 |
|---|
| C03 | 09 | X | SPA | @0 Sala concierto @5 09 |
|---|
| C03 | 10 | X | FRE | @0 Acoustique salle @5 10 |
|---|
| C03 | 10 | X | ENG | @0 Room acoustics @5 10 |
|---|
| C03 | 10 | X | SPA | @0 Acústica sala @5 10 |
|---|
| C03 | 11 | X | FRE | @0 Haut parleur @5 11 |
|---|
| C03 | 11 | X | ENG | @0 Loudspeaker @5 11 |
|---|
| C03 | 11 | X | SPA | @0 Altoparlante @5 11 |
|---|
| C03 | 12 | X | FRE | @0 Signal acoustique @5 14 |
|---|
| C03 | 12 | X | ENG | @0 Acoustic signal @5 14 |
|---|
| C03 | 12 | X | SPA | @0 Señal acústica @5 14 |
|---|
| C03 | 13 | X | FRE | @0 4355 @2 PAC @4 INC @5 56 |
|---|
| C07 | 01 | X | FRE | @0 Asie @2 NG |
|---|
| C07 | 01 | X | ENG | @0 Asia @2 NG |
|---|
| C07 | 01 | X | SPA | @0 Asia @2 NG |
|---|
| N21 | | | | @1 178 |
|---|
|
|---|
| pR |
| A30 | 01 | 1 | ENG | @1 Workshop on Opera House Acoustics @3 Seattle WA USA @4 1998-06 |
|---|
|
|---|
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Le document en format XML
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</affiliation><series><title level="j" type="main">Journal of sound and vibration</title>
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<imprint><date when="2000">2000</date>
</imprint><seriesStmt><title level="j" type="main">Journal of sound and vibration</title>
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<idno type="ISSN">0022-460X</idno>
</seriesStmt><profileDesc><textClass><keywords scheme="KwdEn" xml:lang="en"><term>Acoustic measurement</term>
<term>Acoustic signal</term>
<term>Computer simulation</term>
<term>Concert hall</term>
<term>Japan</term>
<term>Loudspeaker</term>
<term>Measurement method</term>
<term>Music</term>
<term>Reflector</term>
<term>Room acoustics</term>
<term>Seat</term>
<term>Subjective evaluation</term>
</keywords><keywords scheme="Pascal" xml:lang="fr"><term>Méthode mesure</term>
<term>Mesure acoustique</term>
<term>Evaluation subjective</term>
<term>Siège</term>
<term>Japon</term>
<term>Musique</term>
<term>Réflecteur</term>
<term>Simulation ordinateur</term>
<term>Salle concert</term>
<term>Acoustique salle</term>
<term>Haut parleur</term>
<term>Signal acoustique</term>
<term>4355</term>
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</keywords><front><div type="abstract" xml:lang="en">A round-shaped multi-purpose-event hall with 400 seats (ORBIS Hall: Kobe, Japan) was designed based on the subjective-preference theory of sound fields. To maximize the total scale value of subjective preference at each seat, various is pieces of acoustical equipment were designed. One of the four orthogonal factors of a sound field, the IACC was taken into consideration to ensure the effects of the equipment by acoustical simulation in the design stage. After construction of the hall, acoustical measurements of IA CC were conducted by use of two music motifs. The IACC using the music motifs was much improved due to scattered reflectors, which are installed at each sidewall, and near to and in ceilings, than that of the simulation in the design stage.</div>
</front><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>232</s2>
</fA05><fA08 i1="01" i2="1" l="ENG"><s1>Acoustical design and measurement of a circular hall, improving a spatial factor at each seat</s1>
</fA08><fA09 i1="01" i2="1" l="ENG"><s1>Workshop on opera house acoustic, Seattle, June 1998</s1>
</fA09><fA11 i1="01" i2="1"><s1>TAKATSU (A.)</s1>
</fA11><fA11 i1="02" i2="1"><s1>HASE (S.)</s1>
</fA11><fA11 i1="03" i2="1"><s1>SAKAI (H.)</s1>
</fA11><fA11 i1="04" i2="1"><s1>SATO (S.)</s1>
</fA11><fA11 i1="05" i2="1"><s1>ANDO (Y.)</s1>
</fA11><fA14 i1="01"><s1>Graduate School of Science and Technology, Kobe University</s1>
<s2>Kobe 657-8501</s2>
<s3>JPN</s3>
<sZ>1 aut.</sZ>
<sZ>2 aut.</sZ>
<sZ>3 aut.</sZ>
<sZ>4 aut.</sZ>
<sZ>5 aut.</sZ>
</fA14><fA18 i1="01" i2="1"><s1>Interuniversity Centre for Acoustics and Musical Research</s1>
<s3>ITA</s3>
<s9>patr.</s9>
</fA18><fA18 i1="02" i2="1"><s1>Music and Concert Hall Acoustics</s1>
<s3>JPN</s3>
<s9>patr.</s9>
</fA18><fA18 i1="03" i2="1"><s1>ASA. Technical Committee of Architectural Acoustics</s1>
<s3>USA</s3>
<s9>patr.</s9>
</fA18><fA20><s1>263-273</s1>
</fA20><fA21><s1>2000</s1>
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<s5>354000087541380200</s5>
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<s1>© 2000 INIST-CNRS. All rights reserved.</s1>
</fA44><fA45><s0>8 ref.</s0>
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</fA47><fA60><s1>P</s1>
<s2>C</s2>
</fA60><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>A round-shaped multi-purpose-event hall with 400 seats (ORBIS Hall: Kobe, Japan) was designed based on the subjective-preference theory of sound fields. To maximize the total scale value of subjective preference at each seat, various is pieces of acoustical equipment were designed. One of the four orthogonal factors of a sound field, the IACC was taken into consideration to ensure the effects of the equipment by acoustical simulation in the design stage. After construction of the hall, acoustical measurements of IA CC were conducted by use of two music motifs. The IACC using the music motifs was much improved due to scattered reflectors, which are installed at each sidewall, and near to and in ceilings, than that of the simulation in the design stage.</s0>
</fC01><fC02 i1="01" i2="X"><s0>001B40C55</s0>
</fC02><fC03 i1="01" i2="X" l="FRE"><s0>Méthode mesure</s0>
<s5>01</s5>
</fC03><fC03 i1="01" i2="X" l="ENG"><s0>Measurement method</s0>
<s5>01</s5>
</fC03><fC03 i1="01" i2="X" l="SPA"><s0>Método medida</s0>
<s5>01</s5>
</fC03><fC03 i1="02" i2="X" l="FRE"><s0>Mesure acoustique</s0>
<s5>02</s5>
</fC03><fC03 i1="02" i2="X" l="ENG"><s0>Acoustic measurement</s0>
<s5>02</s5>
</fC03><fC03 i1="02" i2="X" l="SPA"><s0>Medida acústica</s0>
<s5>02</s5>
</fC03><fC03 i1="03" i2="X" l="FRE"><s0>Evaluation subjective</s0>
<s5>03</s5>
</fC03><fC03 i1="03" i2="X" l="ENG"><s0>Subjective evaluation</s0>
<s5>03</s5>
</fC03><fC03 i1="03" i2="X" l="SPA"><s0>Evaluación subjetiva</s0>
<s5>03</s5>
</fC03><fC03 i1="04" i2="X" l="FRE"><s0>Siège</s0>
<s5>04</s5>
</fC03><fC03 i1="04" i2="X" l="ENG"><s0>Seat</s0>
<s5>04</s5>
</fC03><fC03 i1="04" i2="X" l="SPA"><s0>Asiento</s0>
<s5>04</s5>
</fC03><fC03 i1="05" i2="X" l="FRE"><s0>Japon</s0>
<s2>NG</s2>
<s5>05</s5>
</fC03><fC03 i1="05" i2="X" l="ENG"><s0>Japan</s0>
<s2>NG</s2>
<s5>05</s5>
</fC03><fC03 i1="05" i2="X" l="SPA"><s0>Japón</s0>
<s2>NG</s2>
<s5>05</s5>
</fC03><fC03 i1="06" i2="X" l="FRE"><s0>Musique</s0>
<s5>06</s5>
</fC03><fC03 i1="06" i2="X" l="ENG"><s0>Music</s0>
<s5>06</s5>
</fC03><fC03 i1="06" i2="X" l="SPA"><s0>Música</s0>
<s5>06</s5>
</fC03><fC03 i1="07" i2="X" l="FRE"><s0>Réflecteur</s0>
<s5>07</s5>
</fC03><fC03 i1="07" i2="X" l="ENG"><s0>Reflector</s0>
<s5>07</s5>
</fC03><fC03 i1="07" i2="X" l="SPA"><s0>Reflector</s0>
<s5>07</s5>
</fC03><fC03 i1="08" i2="X" l="FRE"><s0>Simulation ordinateur</s0>
<s5>08</s5>
</fC03><fC03 i1="08" i2="X" l="ENG"><s0>Computer simulation</s0>
<s5>08</s5>
</fC03><fC03 i1="08" i2="X" l="SPA"><s0>Simulación computadora</s0>
<s5>08</s5>
</fC03><fC03 i1="09" i2="X" l="FRE"><s0>Salle concert</s0>
<s5>09</s5>
</fC03><fC03 i1="09" i2="X" l="ENG"><s0>Concert hall</s0>
<s5>09</s5>
</fC03><fC03 i1="09" i2="X" l="SPA"><s0>Sala concierto</s0>
<s5>09</s5>
</fC03><fC03 i1="10" i2="X" l="FRE"><s0>Acoustique salle</s0>
<s5>10</s5>
</fC03><fC03 i1="10" i2="X" l="ENG"><s0>Room acoustics</s0>
<s5>10</s5>
</fC03><fC03 i1="10" i2="X" l="SPA"><s0>Acústica sala</s0>
<s5>10</s5>
</fC03><fC03 i1="11" i2="X" l="FRE"><s0>Haut parleur</s0>
<s5>11</s5>
</fC03><fC03 i1="11" i2="X" l="ENG"><s0>Loudspeaker</s0>
<s5>11</s5>
</fC03><fC03 i1="11" i2="X" l="SPA"><s0>Altoparlante</s0>
<s5>11</s5>
</fC03><fC03 i1="12" i2="X" l="FRE"><s0>Signal acoustique</s0>
<s5>14</s5>
</fC03><fC03 i1="12" i2="X" l="ENG"><s0>Acoustic signal</s0>
<s5>14</s5>
</fC03><fC03 i1="12" i2="X" l="SPA"><s0>Señal acústica</s0>
<s5>14</s5>
</fC03><fC03 i1="13" i2="X" l="FRE"><s0>4355</s0>
<s2>PAC</s2>
<s4>INC</s4>
<s5>56</s5>
</fC03><fC07 i1="01" i2="X" l="FRE"><s0>Asie</s0>
<s2>NG</s2>
</fC07><fC07 i1="01" i2="X" l="ENG"><s0>Asia</s0>
<s2>NG</s2>
</fC07><fC07 i1="01" i2="X" l="SPA"><s0>Asia</s0>
<s2>NG</s2>
</fC07><fN21><s1>178</s1>
</fN21><pR><fA30 i1="01" i2="1" l="ENG"><s1>Workshop on Opera House Acoustics</s1>
<s3>Seattle WA USA</s3>
<s4>1998-06</s4>
</fA30>
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