| [摘要] |
|
本研究針對舞台音響環境對演奏者及觀眾間之互動影響進行探討，於國內7個廳堂現場進行 |
|
主觀評估與客觀量測實驗，而研究中之音樂表演內容，包含獨奏、室內樂（鋼琴、小提琴 |
|
、銅管重奏等團體）及交響樂（編制35∼60人之國樂西樂兩樂團）之演奏。 |
|
室內樂及獨奏實驗，於6個大小與餘響時間不同的廳堂中進行。舞台音響環境變因包含演奏 |
|
區位變化、立式反射版使用之有無。演奏者於各樂段演奏後，就自我聲音、他人聲音、合 |
|
奏容易度、整體感受等喜好進行評估，而觀眾亦同步於觀眾席進行各種樂器音量與整體感 |
|
受等主觀項目之評估。客觀量測則對照主觀實驗之變因組合進行操作，之後並計算各種性 |
| 能參數。 |
|
實驗結果發現，各樂器演奏者具有不同的環境喜好。其中大小提琴在增加立式反射版後之 |
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評估喜好明顯較未增加前高，而觀眾亦感覺弦樂器音量的增加。多功能使用之廳堂（含舞 |
|
台屋者）舞台中央演奏區位未如預期較前側區位提高早期反射能量。客觀音響性能參數回 |
| 歸結果顯示，ED100較STearly、STlate等參數具主觀喜好之解釋能力，最佳區間約為-11± |
| 1dB。 |
|
交響樂實驗於一1200席且空席餘響時間為1.9秒的廳堂中進行。舞台音響環境變因包含懸吊 |
|
式反射版之升降、舞台之前後演奏區位、及舞台上演奏台之配置變化等三項變因。實驗中 |
|
演奏者進行與室內樂相同的主觀評估，而觀眾對音量、混合度、聲部平衡等十項主觀項目 |
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進行評估。客觀量測部分，舞台著重「支持能力」及「溝通能力」相關之音響性能參數， |
| 觀眾席則著重與能量有關的參數。 |
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實驗結果發現，懸吊反射版下降後，明顯具有提高舞台上早期反射音能量及提高舞台橫向 |
|
溝通能力之作用；對一樓座席具有提高早期能量之作用，但對於二樓座席之能量卻相對降 |
| 低（但主觀差異並不明顯）。 |
|
本研究限於樂團及廳堂之配合時程，未得以完整進行交響樂團之變因實驗及主客觀評估相 |
| 關性之探討，尚待後續相關課題之實驗及研究。 |
|
| [摘要] |
| The research project is proposed
to investigate the interactive relations |
| among performers, audience and
the acoustical qualities of concert halls. |
| Stage acoustics were evaluated
in seven halls regarding solo (piano, harp and |
| violin), chamber music (piano
sonata, piano trio and brass quintet), and |
| orchestral music (35~60
performers). |
| The researches of solo and
chamber music performances were experimented in six |
| halls. In each hall professional
musicians were seated at two locations with |
| and without detached side
reflectors. The performers expressed their opinions |
| about hearing oneself, hearing
others, ease of ensemble, and overall |
| impression. And the audiences
were asked about the strength of individual |
| parts and overall impression. A
factor analysis yielded 4 groups among the |
| musicians. Regarding overall
impression string players favored the |
| environments with side
reflectors. It has been found that early-to-direct |
| energy ratio (ED100) was more
important than early support (STearly) and late |
| support (STlate)
subjectively. The optimum value of ED100 was –11 dB. |
| The experiments of orchestral
performances were carried out in a 2200-seat |
| concert hall that the
reverberation time was 2.0 sec (unoccupied). |
| Experimental variables included
location of the performer (front or back) and |
| the suspended reflectors (raised
or lowered). As a result, the situations |
| with lowed suspended reflectors
were most favored and can significant enhance |
| early energy on stage. |
| Because this time a full
cooperation can not the provided by the orchestra and |
| the concert hall, the part
regarding orchestral performances research was not |
| quite complete. Further research
is required to completely assess the |
| acoustical environments for
orchestral performance regarding balance blend. |