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Seeking Concert Hall Acoustics

机译：寻求音乐厅声学

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摘要

Violin acoustics and concert hall acoustics are significantly different. Violins evolved three centuries ago, and since then every violin builder and owner has demanded an instrument that duplicates the physical properties and sound of that early period. Concert halls have evolved differently; architects have desired to make each a unique visual statement - certainly not a copy. Faced with this situation, acousticians have attempted to find a set of measurable characteristics that, if duplicated in halls of different appearances, will result in sounds that musicians and owners will find excellent, or at least satisfactory. This article recollects my efforts to isolate these characteristics - from the sequence of events that led to an understanding of how audiences in concert halls absorb sound, to finding acoustical measures needed for design and augmentation of concert hall acoustics.
机译：小提琴的声学效果和音乐厅的声学效果明显不同。小提琴是在三个世纪前发展起来的，从那以后，每个小提琴制造商和所有人都要求一种能够复制早期物理特性和声音的乐器。音乐厅的发展有所不同。建筑师希望使每个视图都具有独特的视觉效果-当然不是副本。面对这种情况，声学家试图找到一套可测量的特征，如果这些特征在不同外观的大厅中重复出现，将产生使音乐家和所有者感到满意或至少令人满意的声音。本文回顾了我为隔离这些特征所做的努力-从导致理解音乐厅听众如何吸收声音的事件序列到寻找设计和增强音乐厅声学的声学方法。

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