| [摘要] |
|
有關音樂廳的音響性能評價與建築設計的文獻多以都會區大規模場所為對象，對位於大學 |
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或小型城鎮小規模的交響樂音樂廳的評估，缺乏較明確的建議。但以充足的室容積、較大 |
|
型音樂廳更為擴散的表面、略為縮減的餘響時間與相對音壓級、以及可調整的音響環境等 |
| ，為主要的設計方向。 |
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研究的對象以國立台北藝術大學之小型交響樂廳的內裝為對象，作音響性能設計與評估， |
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在各階段的建築設計過程中，利用音響電腦模擬（Odeon 5.0）軟體與1／20的縮尺模型量 |
|
測來輔助聲學環境的設計，同時配合設計單位與校方的意見，進行雙向的綜合評估，並且 |
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在現有音樂廳的環境限制下，進行方案評估與評估指標的設定。以小型交響樂廳而言很難 |
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同時滿足餘響時間（EDT）與相對音壓級（G值）兩個性能參數的最佳設定，因此應設法在 |
| 控制EDT不變的情況下降低G值。 |
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現階段研究的結果有以下的發現，舞台上方反射板以分散式處理，可增加前排音源相對後 |
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排音源的音量比，有助於促進獨奏者以及樂團弦樂部分的音量，且ST early可滿足Gade推 |
| 薦的值 –12±1
dB，若進一步於觀眾席上方增加反射板，則會顯著降低初期衰減時間。可 |
|
變吸音材的設計對於表演性質多變的音樂廳而言，可以有效的控制音樂廳的EDT與G值。音 |
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樂廳兩側包廂之扶手欄杆採半圓型式的作法，則可讓反射的能量更為擴散，並讓部分能量 |
| 向上反射至天花板，會使得整體效果更好。 |
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本研究限於設計時程，未能完整進行各建築設計因子對於音樂廳音響品質的影響分析與探 |
| 討，有待後續相關課題之研究。 |
|
| [摘要] |
| It is noted that the
assessment on music hall concerning acoustic performance,
|
| as well as factors for
architectural design, have been basically analysed and
|
| recommendated for
large-scale cases in the metropolitan area. Assessment on
|
| these items of
small-scale symphonic music hall located in colleges or small
|
| towns were less well
studied. However, the main design course of this research
|
| consists of sufficient
indoor volume, more expanded surface in comparison to
|
| large-scale music hall,
slightly shorter EDT and G value, and adjustable |
| acoustic surroundings. |
| The subject of the study
is the interior finishing of symphonic music hall of
|
| National Taipei
University of Arts, and then acoustic performance design and
|
| assessment is performed.
During each stage of the architectural design |
| process, acoustical
computer simulations and 1/20 scaled-down model survey are
|
| used to aid the design
of the acoustical surroundings. In the meantime, |
| accommodating with
opinions of design party and the school authority and
|
| performing 2-way
synthetic assessment is done. In addition, under the
|
| restriction of the
current music hall surroundings, the assessments on this
|
| case and assessment
index are instituted. It was aimed to reduce G-value under
|
| the condition that EDT
is controlled as a constant. |
| Above the stage, the
reflection panels are distributed in such a dispersed
|
| manner that the sound
source volume ratio of the front row in comparison to
|
| back row is increased,
and the boosting of sound volume for the soloist and
|
| the string orchestra is
also better. In addition, ST early can satisfy the
|
| value of –12 ± 1dB
recommended by Gade. If additional reflection panels were
|
| installed right above
the audience, the initial decay time would be decreased
|
| significantly. For the
volatile performance nature of the music hall, the
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| design of changeable
sound absorption material can effectively control the EDT
|
| and G value. On the
other hand, the semi-circular railing on both sides of the
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| boxes of this hall can
allow the reflection energy to expand more diffusively,
|
| and part of the energy
will reflect upwards to the ceiling, therefore creating
|
| a better overall effect. |