| [摘要] |
| |
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在音樂廳設計方面，除了要滿足聽眾的需求外，也要提供演出者可以適度發揮的環境 |
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。雖然舞臺環境很早就受到設計者的關注，但由於長期以來建築音響學專注在觀眾席部份 |
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，相較之下，舞臺部份的相關研究起步很晚而現有的研究成果也偏向交響樂演出。 |
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本研究主要探討獨奏時舞臺音響環境對演奏之影響，以目前國內及世界現有的音樂廳 |
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舞臺設計主流之端部舞臺為對象，並區分為尺度、形狀、比例、反射板、指向性音源等五 |
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個組別，分別討論--廳堂室容積、舞臺室容積、舞臺面積、舞臺高度、側牆傾斜角度、天 |
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花傾斜角度、演奏者位置前後、舞臺平面比例、有無小反射板、音源位置、音源指向性等 |
| 舞臺建築環境，音響性能的模擬使用Odeon電腦軟體作解析。 |
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以現階段的研究結果而論，舞臺建築環境的確對舞臺之音響性能有所影響。在尺度方 |
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面，舞臺室容積對於舞臺上的音量並無影響，舞臺容積為620m3時ST1值最接近Gade推薦 |
| 的 -12±1
dB；在形狀方面，舞臺上的音量大小並未因形狀的改變而產生明顯差異，獨奏 |
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廳的側牆與天花板之角度建議在15°∼30°之間較容易控制音響效果；在比例方面，舞臺 |
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寬度/深度比的差異對餘響時間、清晰度、側向反射有明顯影響，但須主觀實驗評估其喜好 |
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程度；在反射板方面，直立式反射板對側向反射的影響很大，顯示音響性能易受舞臺上其 |
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他的物體影響，而天花浮雲不易受舞臺上其他的物體影響；在指向性音源方面，舞臺音響 |
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性能的評價，不適合以無方向性音源的量測結果直接作為各種樂器演出的主觀評價，必須 |
| 另外以樂器的音源特性加以修正。 |
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本研究提供了對建築環境與音響性能間因果關係的進一步認識，後續研究可加入主觀 |
| 方面的測試，以找出最佳的舞臺形式。 |
|
| [摘要] |
| ABSTRACT |
| Although the importance of early
reflections has been recognized, the focus |
| has primarily been placed upon
symphonic performance. Little research efforts |
| have been put into architectural
designs that can achieve desirable acoustical |
| qualities. Therefore the current
research is proposed to investigate the |
| effects of architectural
features on acoustical qualities on stage regarding |
| solo performance in music
auditoria. |
| Five sets of acoustical tests
were made using Odeon computer models. |
| Accordingly, emphases were
placed upon size, shape, proportion, reflectors, |
| and source. Variables included
volume of the stage, volume of the audience, |
| splay angles of side walls,
splay angle of the ceiling, proportion of the |
| stage floor, location of the
performer, orientation of the performer, the |
| presence of detached stage
reflectors, and directional characteristic of |
| source. |
| Significance influence of the
controlled variables can be found. The room |
| volume that generated -12±1 dB
support (ST1) value suggested by Gade is |
| around 620 m3. The changing of
acoustical qualities decreases when the splay |
| angle of the sidewall or the
ceiling was increased from 15° to 30°. The |
| width-to-depth ratio of the
stage significantly influenced reverberation time ( |
| T30), clarity index (C80) and
lateral energy fraction (LF). The presence of |
| detached reflectors
significantly increased early energy, which, however, |
| could not be represented by ST1
because the energy arrived within 20 ms after |
| the arrival of the direct
sound. The overall level (G) were not significant |
| effected by the changing
variables excluding the directivity of the source. |
| The results of the research can
provide quantitative information for refining |
| on-stage acoustics design for
solo performance. Further research is required |
| to assess the subjective
preferences on the sound fields generated in this |
| study. |