2010年6月27日 星期日

建築聲學家徐亞英造模型 讓聲音現形

【聯合報╱記者何定照/台北報導】2010.06.27 04:52 am


徐亞英(中)依衛武營音樂廳十分之一比例打造模型屋,
測試音響效果。圖/徐亞英提供

建築聲學名家徐亞英,與建築大師貝聿銘、法蘭克‧蓋瑞、保羅‧安德魯、波棕巴克等人是長期搭檔,作品廣含法國波爾多大歌劇院、羅浮宮、盧森堡愛樂廳等,雖已七十五歲,仍充滿熱情活力,各國合作案排滿行事曆,還差點應八十多歲的蓋瑞之邀合組冰球隊當後衛。

徐亞英從在北京念清華大學建築系時,開始建築聲學生涯,一九八○年受邀赴法教學研究至今,深獲建築家、卡拉揚等音樂家信賴。

衛武營音樂廳採近年國際流行的葡萄園(vineyard)式設計,舞台在中央,座位席向四周展開,和傳統長方形鞋盒(shoe box)式音樂廳舞台在前、觀眾席在後迥異。徐亞英認為,葡萄園式音樂廳增加觀眾親切感,不像鞋盒式,坐愈後面的離舞台愈遠。

為測試聲響效果,徐亞英和台灣負責建築師羅興華特地以衛武營音樂廳十分之一比例打造模型屋,徐亞英還在巴黎跑了布店十幾次,終於找到和人體吸音效果相近的布料,做成人偶放在座位,徹底模擬音樂廳滿座時的音效。

本文轉載自【2010/06/27 聯合報】http://udn.com/NEWS/READING/REA8/5688868.shtml



國家音樂廳傳「魅音」 元兇找到

【聯合報╱記者何定照/台北報導】2010.06.27 04:53 am

問題在反射板
國家音樂廳近來常傳出莫名巨響,建築聲學家徐亞英判斷是廳內反射板的問題。

本報資料照片/記者曾學仁攝影

台北國家音樂廳近年晚間演出時,每到八點出頭,廳內常莫名傳出巨響,過去都認為是屋頂老舊、熱脹冷縮所致,兩廳院日前邀華裔法籍的建築聲學名家徐亞英會勘,發現元兇並非屋頂。

兩廳院藝術總監黃碧端指出,兩廳院建造至今已廿三年,計畫在二○一三年大幅整修,音樂廳採隔一、兩個月間續整修,戲劇院休館八個月,聽聞擔任高雄衛武營藝 術文化中心聲學設計的徐亞英來台,趕緊邀他也幫音樂廳把脈。兩廳院副藝術總監邱瑗笑說,諸如「歌劇魅影」等怪聲影往往起於劇院的老化,兩廳院這次有如抓 「魅影」。

國家音樂廳向來被公認國內最佳,但二○○七年起,聽眾發現,在晚間八時至八時廿分間,廳內某處就會發出「砰」聲,彷彿有人大力開門或踩踏。日前五←龍小提琴音樂會、國王歌手演唱會,巨響就分別在八點十分及五分發生。

兩廳院過去認為巨響成因,是主要由木頭構成的屋頂,因建造過久過度乾燥,晚間開燈後又在廳內上方造成熱空氣,而晚間六時許開廳內空調後的冷氣、聽眾入場帶來的濕氣,則在廳內下方形成冷空氣,使屋頂熱脹冷縮,在固定時間迸出巨聲。

不過徐亞英爬上兩廳院內部最高處勘查,發現屋頂下方有好幾層混凝土,「聲音絕對傳不到廳內」。他初判巨響來源應是廳內牆面掛的反射板,這些看似裝飾的兩公 分厚木板,因年久乾燥,才會在廳內開空調後熱脹冷縮發出聲響。但他強調,「至少得待一、兩個禮拜,才能確實判斷聲音來源。」

徐亞英也指出音樂廳舞台太大,使得樂團部分成員聽不見對方,建議舞台上方加裝可升降反射板;管風琴前加裝屏風,並從屋頂四周縫間垂下帷幕,可減少殘響,適合古典獨奏及爵士演奏。

本文轉載自【2010/06/27 聯合報】http://udn.com/NEWS/READING/REA8/5688865.shtml



2010年6月16日 星期三

Sweet Hour of Prayer

VINTAGE GIBSON 8: Sweet Hour of Prayer


因為尋找“Sweet Hour of Prayer”這首歌,而認識“Harp Guitar”這個特殊樂器,進而找到一些資料給大家參考。如下:


1917 'The Gibson' Harp Guitar, Style U

Harp guitars, like this one from the early 1900s, are certainly relatives of the modern doubleneck guitar—offering, in essence, two stringed instruments in one, even though it is played as a single instrument. With the exception of a factory refinish that occurred in either the 1940s or 1950s, this excellent example is completely original (sans pickguard), and features Gibson’s iconic script logo on the six-string headstock. The top is crafted from spruce, with a neck made from mahogany and topped by an ebony fingerboard. The back and sides on this particular model are made from birch, which was quite standard for many Gibson models during this time—even though the company routinely advertised its back and sides as being made from maple. All of the tonewoods on this harp guitar are standard for what Gibson used during this period.

This Style U is the most common model of all Gibson harp guitars, and this particular model from 1917 is its most common configuration—10 sub-bass strings (tuned chromatic), and six standard strings (tuned to standard tuning). Earlier harp guitars, some of which were built with 12 sub-bass strings, are considered quite rare and hard to find in good condition. This Style U model measures approximately 45.5” in length, 18.75” in width, with a rim depth of 3.5”. Its scale length is 24.75”, and it weighs approximately 9.5 lbs. In 1917, its list price was $248.21—a pretty hefty price tag for any instrument in its day.

資料來源:http://www.premierguitar.com/magazine/Issue/2010/Jan/1917_The_Gibson_Harp_Guitar_Style_U.aspx