中西傳統樂音獨奏時之主觀聲源寬廣度比較研究

A Comparative Study of Subjectively Apparent Source Width between Traditional Chinese and Western Classic Musical Instruments Recital

游財榮(Cai-rong You)

指導教授 ： 陳炯堯

朝陽科技大學/設計學院/建築及都市設計研究所/碩士(2009年)

摘要

由於西方文化的入侵，傳統的中國國樂演奏將進入西方的音樂廳堂演出，而廳堂主要依據西洋樂音聲學特性來進行設計。Morimoto(1989)提出空間印象是聲場重要的特性之一，空間印象則是由聲源寬廣度與聆聽包被感所組成。中國音樂曾享有世界三大樂系的美名，其獨特的戶外戲臺演奏空間在聲學上是別於西方音樂廳堂，中國國樂於西方廳堂之演出適合性將受到質疑。因此，中國國樂與西洋樂音聲學特性將成為首要之研究課題。本研究將探討中西傳統獨奏樂音之特性，以聲源寬廣度為主軸歸納以下三個目的：1. 探討中西傳統樂音聲源寬廣度比較研究；2. 探討迴響時間對聲源寬廣度的影響；3. 探討雙耳互函數對聲源寬廣度的影響。
本研究之實驗方法以不完備配對比較法進行中西樂音之配對，求得中西樂音之主觀心理感知聲源寬廣度，並以統計方法對聲源寬廣度做進一步探討。實驗發現：1.西洋管弦樂之主觀聲源寬廣度明顯高於中國國樂（p＜0.001），並依Thurstone Case V之心理量化法得到各樂器之寬廣度排序（大提琴＞法國號＞小提琴＞單簧管＞揚琴＞古箏＞低音管＞中阮＞笛管＞二胡）；2. 中國國樂與西洋管弦樂的樂音聲源寬廣度會隨著迴響的大小而有顯著的改變（p＜0.001），中西樂音會隨著迴響時間的增加，聲源寬廣度有遞增的趨勢；3. 當雙耳互函數物理量越小時主觀寬度心理量化值越大，兩者呈負相關的趨勢（p＜0.001）。

關鍵字

不完備配對比較法 ； 聲源寬廣度

並列摘要

Due to the invasion of Western culture, traditional Chinese music will be played in the Western concert hall which is mainly designed in accordance with the acoustic characteristics of Western music instruments. Morimoto (1989) proposes that the spatial impression is one of the most important characteristics of the sound field, and that the spatial impression is composed of apparent source width (ASW) and listener envelopment (LEV). Many researches have shown that traditional Chinese music is distinctively different from Western music in musical temperaments. The suitableness of traditional Chinese music being played in the Western concert hall will be questioned. Hence, the spatial impression of the traditional Chinese and Western musical solo were the primary research issue. Using apparent source width as a major basis, four purposes are induced: (1) the comparative research on the width of the traditional Chinese and Western musical sounds; (2) the influence of the reverberation on apparent source width; (3) the relationship between apparent source width and the interaural cross-correlation.
The methodology in this research is to utilize the method of paired comparisons with incomplete data the Chinese music source with the Western musical sound in order to acquire apparent source width perceived subjectively by the psychological sense, and to utilize the statistical method to explore the of the apparent source width.The findings of the experiment are: (1) The subjectively apparent source width of the Western orchestral music is obviously larger than that of the traditional Chinese musical sound (p＜0.001), and the widths of all musical instruments are ranked according to Thurstone’s psychological quantitative approach (cello＞French horn＞violin＞clarinet＞dulcimer＞Chinese zither ＞bassoon＞ruan＞pipe＞erhu (2) Apparent source width of both Chinese and Western musical sounds follow reverberation time has a significant influence（p＜0.001）(3) When the interaural cross-correlation minor subjectively width psychology quantification value is bigger, both present the inverse correlation the tendency（p＜0.001）.

並列關鍵字

Apparent Source Width ； paired comparisons with incomplete data

參考文獻

20. 陳炯堯、游財榮，2008，「中西傳統樂音獨奏時之主觀聲源寬廣度比較研究」，中華民國音響學會第二十一屆學術研討會論文集，中華民國音響學會，台北。

2. Ando, Y. (1998) “Architectural acoustics－Subject effects of sound field on performers”, pp.109~119, Kobe university, Japan.

3. Morimoto, M. and Iida, K. (1995) “A practical evaluation method of auditory source width in concert halls”, J.Acoustic. Soc. Jpn. 16(2), pp.59-69.

5. Morimoto, M. and Posselt, C. (1989) “Contribution of reverberation to auditory spaciousness in concert halls ”,J. Acoustic. Soc. Jpn., 10(2) , pp.87-92.

6. Ando, Y. (1985) “Concert Hall Acoustics”, Berlin Heidelberg New York Tokyo.