ERATO Proceedings Istanbul 2006.pdf - Odeon

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The same analysis performed for speech and music have shown (table 4): an homogeneous rating scores for every situation with music sounds, and a trend to have a lower score when architectural elements are not present, with Speech sounds. For speech assessment and despite that no statistic differences are observed, the presence of architecture elements have some influence on the perception of the corresponding sounds: this influence is due to the presence of canopy associated to the presence of the stage wall. FACTORS/ Modes F Intensity P Distance C Clarity R Reverb RESPONSES S1 37,9 53,2 65,9 46,6 SOURCE S2 52,8 46,9 48,5 29,8 R1 65,6 29,6 53,8 27,6 RECEIVER R2 25,1 70,5 60,7 48,7 no wall 39,9 47,7 61,5 44,7 STAGE WALL wall 48,1 51,3 55,1 34,9 no colon 44,2 46,2 58,1 40,1 COLONNADES colon 48,3 51,3 57,1 36,2 no canopy 43,4 49,9 60,1 41,6 CANOPY canopy 49,4 50,4 51,6 31,2 Table 5: Mean Values of the judgements speech Global impression and architectural elements It can be observed (table 5): a heavy influence of the distance source-receiver on the perceived intensity of the sounds and the estimated distance. The clarity is lower and the reverberation is longer in the situation of the source on the orchestra, S2. The effect of the stage wall is complex: its presence has a positive influence on the intensity and on the perceived reverberation, whereas the clarity decreases with the stage wall. The effects of the presence of a colonnade has the same effects than the stage wall, but very lower. The presence of a canopy has a light influence on the perceived intensity, but not on the perceived distance. It has a high negative influence on the clarity and it makes the sound more reverberant. In conclusion, the presence of architectural elements are modifying the judgements on the main qualities of the speech sounds, even the statistics are not significant. 2.5 Contribution of the physical parameters to the global judgement: a multiple regression A multiple regression has been applied to the data for speech and for music, called “progressing regression step by step”; the criteria applied to the maximum coefficients of correlation is P < 0.05. The model is organised by: - a dependent variable, that is the global impression, a sum of the elementary judgements - 5 independent variables, called for explanation, that are the acoustic parameters of: Strength, Distance, Reverberation time, Clarity and STI. The presence, or not, of the elements as Colonnades, Canopy and Stage wall, that are not expressed on a continuous quantitative scale has not been taken into account.
Multiple Regression « Speech » R2 = 0,79 p = 0,002: The Equation of the regression is: a = 181,35 - 9,94 * Strength +29,67 * Reverb Time + 9,21 * Clarity- 2,6 * Dist- 272,86 * STI Multiple Regression « Music Piano » R2 = 0,69 p = 0,028 The Equation of the regression is : a = 109,727 + 11,662 * Reverb -1,268 * Dist- 4,158 * Strength+ 2,112 * Clarity-87,492 * STI It is clear that for speech, the overall impression is better explained by the physical parameters than the judgement on the music: RT and Clarity have a very positive effect, instead of the strength and distance (closely linked) have a negative impact. In this situation, the effect of the Clarity is controlled by the impact of the distance; so the RT remains the main component 3 CONCLUSION This piece of research of <strong>ERATO</strong> constitutes a complementary knowledge to the main Work Packages of this European project, especially on Taxonomy of the theatres and odea of the Hellenistic and Roman period as well as the computer simulations of acoustic characteristics of these theatres 1) - The primary results from this psycho-acoustic experiment consists in a close link between the physical calculation made by the model ODEON and the perception expressed by a sample of people on the subjective qualities of the auralised sounds: this corresponds to a global and reciprocal validation of the modelisation and of the psychological methods applied in this research . There are very few differences between the preferences provided for the speech signal and for a piece of classic music. However the acoustic qualities, required according the choices of the sample, are better determined in the case of the speech signal, in term of reverberation time and strength The influence of personal variables, like age, gender, to be musician or not, to have some hearing impairment or not is very low, with no statistical significance 2) – Relationship between physical acoustic parameters and public preference The perceptive judgements about speech sounds are positive when: the feeling of strength is high, and that the sound seems to be near the receiver, and when there are a high feeling of RT and Clarity On the contrary, sounds are judged as negative when G is very high, seems to be very close to the receiver, and have a low intelligibility and low subjective RT The feeling on the presented sounds also could be related to the presence of some elements of architecture in the theatre, and this could provide guidelines for the modern performances to be presented in old theatre: The presence of the stage wall is important for the intensity and reverberation of the sound. For short distance source-receiver, canopy is not useful, and the presence of colonnades is not required. The position of the source near a stage wall is an interesting feature, to provide sufficient RT and subjective strength. The source position near the stage wall is particularly good for the speech perception. For long distance between the sources and the public, at the second half rows of seats, for instance, attention must be paid to sufficient strength , that give a feeling of vicinity to the source, but the
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RTD project in the EC 5th Framework
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THE ERATO PROJECT AND ITS CONTRIBUT
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3 ROOM ACOUSTICAL PARAMETERS The fo
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4.2 Reverberation Time T 30 vs. Fre
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5.1 Aosta & Aphrodisias Odeon The A
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5.3 Strength G vs. Distance 16,00 1
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VITRUVIUS AND ANCIENT THEATRES: ANA
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a line is drawn to touch the outsid
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Actually the colonnade (portico) im
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VIRTUAL REALITY AND ARCHITECTURAL C
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As a result, maybe the most critica
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The absorption and scattering prope
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Figure 3. Sound sources and receive
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In Figure 5 the reverberation time
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ACOUSTICAL MEASUREMENTS IN ANCIENT
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channels four different signals, on
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The clarity for music C80, whose pl
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References [1] EU Project ERATO - I
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2.1 The Greek Theatre The GE theatr
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Page 77 and 78: 3.4 Results To conclude, Fig 6 illu
Page 79 and 80: ANCIENT THEATRES AND ODEA AND CRITE
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