Konca Şaher , Yalın Özgencil , Solmaz Khoshkholghi
{"title":"按照ISO23591标准对四个音乐排练室进行声学评价","authors":"Konca Şaher , Yalın Özgencil , Solmaz Khoshkholghi","doi":"10.1016/j.apacoust.2025.110878","DOIUrl":null,"url":null,"abstract":"<div><div>Optimizing rehearsal room acoustics is crucial for musicians to perceive sound, pitch, and frequency variations. Since the introduction of the international standard ISO 23591 Acoustic quality criteria for music rehearsal rooms and spaces, research in the field of music rehearsal rooms has significantly intensified. However, relatively few have adopted an approach that integrates both objective measurements and subjective user evaluations, particularly in rehearsal rooms for quiet-category instruments. Therefore, this study aimed to assess and improve the acoustical conditions of four Turkish rehearsal rooms for quiet-category instruments using measurements, simulations, and musician surveys. A survey conducted in the first phase revealed that musicians rated the efficiency, satisfaction, and frequency balance of four rehearsal rooms as bad to fair. Efficiency of rehearsals showed a strong correlation with frequency balance (R<sup>2</sup> = 0.72 for low-to-mid; R<sup>2</sup> = 0.76 for high-to-mid). Strong correlations (R<sup>2</sup> = 0.93) were found between calculated and perceived low-to-mid frequency balance, while high-to-mid frequency balance showed weaker correlations (R<sup>2</sup> = 0.36), suggesting possible sensitivity to low-frequency issues; though this did not consistently align with user satisfaction, indicating that additional perceptual factors play a role. Acoustic measurements show that existing reverberation time (RT<sub>mid</sub>) values for all rooms fall outside recommended limits. The measured rehearsal rooms were modeled, calibrated, and 36 acoustic models were developed with three alternative designs to improve acoustics within recommended limits. Then musicians from these rooms assessed 36 acoustic models through listening tests based on auralizations. Listening tests showed a preference for models with RT<sub>mid</sub> values within the recommended range, aligning subjective and objective assessments. After the RT<sub>mid</sub> value, effect of low-to-mid frequency balance was important in the choice of rooms for musicians.</div></div>","PeriodicalId":55506,"journal":{"name":"Applied Acoustics","volume":"240 ","pages":"Article 110878"},"PeriodicalIF":3.4000,"publicationDate":"2025-06-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Acoustic assessment of four music rehearsal rooms in accordance with ISO23591 standard\",\"authors\":\"Konca Şaher , Yalın Özgencil , Solmaz Khoshkholghi\",\"doi\":\"10.1016/j.apacoust.2025.110878\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"<div><div>Optimizing rehearsal room acoustics is crucial for musicians to perceive sound, pitch, and frequency variations. Since the introduction of the international standard ISO 23591 Acoustic quality criteria for music rehearsal rooms and spaces, research in the field of music rehearsal rooms has significantly intensified. However, relatively few have adopted an approach that integrates both objective measurements and subjective user evaluations, particularly in rehearsal rooms for quiet-category instruments. Therefore, this study aimed to assess and improve the acoustical conditions of four Turkish rehearsal rooms for quiet-category instruments using measurements, simulations, and musician surveys. A survey conducted in the first phase revealed that musicians rated the efficiency, satisfaction, and frequency balance of four rehearsal rooms as bad to fair. Efficiency of rehearsals showed a strong correlation with frequency balance (R<sup>2</sup> = 0.72 for low-to-mid; R<sup>2</sup> = 0.76 for high-to-mid). Strong correlations (R<sup>2</sup> = 0.93) were found between calculated and perceived low-to-mid frequency balance, while high-to-mid frequency balance showed weaker correlations (R<sup>2</sup> = 0.36), suggesting possible sensitivity to low-frequency issues; though this did not consistently align with user satisfaction, indicating that additional perceptual factors play a role. Acoustic measurements show that existing reverberation time (RT<sub>mid</sub>) values for all rooms fall outside recommended limits. The measured rehearsal rooms were modeled, calibrated, and 36 acoustic models were developed with three alternative designs to improve acoustics within recommended limits. Then musicians from these rooms assessed 36 acoustic models through listening tests based on auralizations. Listening tests showed a preference for models with RT<sub>mid</sub> values within the recommended range, aligning subjective and objective assessments. After the RT<sub>mid</sub> value, effect of low-to-mid frequency balance was important in the choice of rooms for musicians.</div></div>\",\"PeriodicalId\":55506,\"journal\":{\"name\":\"Applied Acoustics\",\"volume\":\"240 \",\"pages\":\"Article 110878\"},\"PeriodicalIF\":3.4000,\"publicationDate\":\"2025-06-11\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Applied Acoustics\",\"FirstCategoryId\":\"101\",\"ListUrlMain\":\"https://www.sciencedirect.com/science/article/pii/S0003682X25003500\",\"RegionNum\":2,\"RegionCategory\":\"物理与天体物理\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"Q1\",\"JCRName\":\"ACOUSTICS\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Applied Acoustics","FirstCategoryId":"101","ListUrlMain":"https://www.sciencedirect.com/science/article/pii/S0003682X25003500","RegionNum":2,"RegionCategory":"物理与天体物理","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q1","JCRName":"ACOUSTICS","Score":null,"Total":0}
Acoustic assessment of four music rehearsal rooms in accordance with ISO23591 standard
Optimizing rehearsal room acoustics is crucial for musicians to perceive sound, pitch, and frequency variations. Since the introduction of the international standard ISO 23591 Acoustic quality criteria for music rehearsal rooms and spaces, research in the field of music rehearsal rooms has significantly intensified. However, relatively few have adopted an approach that integrates both objective measurements and subjective user evaluations, particularly in rehearsal rooms for quiet-category instruments. Therefore, this study aimed to assess and improve the acoustical conditions of four Turkish rehearsal rooms for quiet-category instruments using measurements, simulations, and musician surveys. A survey conducted in the first phase revealed that musicians rated the efficiency, satisfaction, and frequency balance of four rehearsal rooms as bad to fair. Efficiency of rehearsals showed a strong correlation with frequency balance (R2 = 0.72 for low-to-mid; R2 = 0.76 for high-to-mid). Strong correlations (R2 = 0.93) were found between calculated and perceived low-to-mid frequency balance, while high-to-mid frequency balance showed weaker correlations (R2 = 0.36), suggesting possible sensitivity to low-frequency issues; though this did not consistently align with user satisfaction, indicating that additional perceptual factors play a role. Acoustic measurements show that existing reverberation time (RTmid) values for all rooms fall outside recommended limits. The measured rehearsal rooms were modeled, calibrated, and 36 acoustic models were developed with three alternative designs to improve acoustics within recommended limits. Then musicians from these rooms assessed 36 acoustic models through listening tests based on auralizations. Listening tests showed a preference for models with RTmid values within the recommended range, aligning subjective and objective assessments. After the RTmid value, effect of low-to-mid frequency balance was important in the choice of rooms for musicians.
期刊介绍:
Since its launch in 1968, Applied Acoustics has been publishing high quality research papers providing state-of-the-art coverage of research findings for engineers and scientists involved in applications of acoustics in the widest sense.
Applied Acoustics looks not only at recent developments in the understanding of acoustics but also at ways of exploiting that understanding. The Journal aims to encourage the exchange of practical experience through publication and in so doing creates a fund of technological information that can be used for solving related problems. The presentation of information in graphical or tabular form is especially encouraged. If a report of a mathematical development is a necessary part of a paper it is important to ensure that it is there only as an integral part of a practical solution to a problem and is supported by data. Applied Acoustics encourages the exchange of practical experience in the following ways: • Complete Papers • Short Technical Notes • Review Articles; and thereby provides a wealth of technological information that can be used to solve related problems.
Manuscripts that address all fields of applications of acoustics ranging from medicine and NDT to the environment and buildings are welcome.