葡萄園式音樂廳的空間聽感寄予側向聲能貢獻程度之研究

Research on the Contribution of Lateral Reflection to the Spatial Auditory Perception of Vineyard-style Concert Halls

自從1963年德國柏林愛樂音樂廳出現之後，一種新形式的正式音樂廳就此誕生，稱作葡萄園式音樂廳（又稱梯田式音樂廳），相較傳統鞋盒式音樂廳，葡萄園式音樂廳最大的特色為觀眾區分區分層環繞舞台，進一步拉近了表演者與觀眾間的親近戚。而談到音樂廳的本質，最重要的就是聲學呈現出的空間戚，它是一個抽象但又不可或缺的音樂廳聲音特性。由早期反射所形成的側牆反射聲能一直是聲學設計最賴以表現聲音空間戚的工具。然而葡萄圜式音樂廳之聲學設計因為觀眾區包圍舞台的緣故，常被詬病缺乏豐富的側牆反射聲能量，因此設計師會利用座位區高起的分區牆來補充其側向反射聲能的不足。然而分區牆的做法相較傳統音樂廳大面積側牆到底能有多少的回饋效果，目前針對這個課題並沒有太多的相關研究。
本研究將透過電腦軟體EASE的協助，模擬還原世界上具代表性的葡萄園式音樂廳，同時模擬代表性之傳統鞋盒式音樂廳，並製作可聽化樣本以配對比較法進行心理聽測實驗相互比較，期盼能了解利用分區牆面反射的輔助來彌補無法充分得到側牆反射聲能的葡萄圜式音樂廳在空間聽戚上與鞋盒式音樂廳的落差。

Since the appearance of the Berlin Philharmonic Concert Hall of Germany in 1963, a new form of formal music hall has emerged, called the vineyard-style music hall (also known as the terraced music hall). Compared to traditional shoebox-style music halls, the biggest feature of the vineyard-style music hall is that the audience area is divided into layers around the stage, which further enhances the closeness between performers and the audience. Regarding the essence of a music hall, the most important aspect is the spatial sense of acoustics, which is an abstract but essential characteristic of a music hall's sound. The side wall reflection energy formed by early and late reflections has always been the tool on which acoustic design relies most to demonstrate sound spatiality. However, due to the audience area surrounding the stage, the acoustic design of the vineyard-style music hall is often criticized for lacking sufficient side wall reflection energy. Therefore, designers use partition walls that are higher than the seating area to supplement the lack of lateral reflection energy. However, there is currently little research on the feedback effect of partition walls compared to large side walls in traditional music halls.
This research will use computer software EASE to simulate and reproduce representative vineyard-style music halls and traditional shoebox-style music halls and produce audible samples for pairwise comparison experiments in psychoacoustic testing. The aim is to understand how the use of partition walls for reflection can compensate for the lack of sufficient lateral reflection energy in vineyard-style music halls and the differences in spatial listening experience between vineyard-style and shoebox-style music halls.