An ancient theatre filters out low-frequency background noise.
The wonderful acoustics for which the ancient Greek theatre of Epidaurus is renowned may come from exploiting complex acoustic physics, new research shows.
The theatre, discovered under a layer of earth on the Peloponnese peninsula in 1881 and excavated, has the classic semicircular shape of a Greek amphitheatre, with 34 rows of stone seats (to which the Romans added a further 21).
Its acoustics are extraordinary: a performer standing on the open-air stage can be heard in the back rows almost 60 metres away. Architects and archaeologists have long speculated about what makes the sound transmit so well.
Now Nico Declercq and Cindy Dekeyser of the Georgia Institute of Technology in Atlanta say that the key is the arrangement of the stepped rows of seats. They calculate that this structure is perfectly shaped to act as an acoustic filter, suppressing low-frequency sound — the major component of background noise — while passing on the high frequencies of performers’ voices.
It’s not clear whether this property comes from chance or design, Declercq says. But either way, he thinks that the Greeks and Romans appreciated that the acoustics at Epidaurus were something special, and copied them elsewhere.
Sound steps
In the first century BC the Roman authority on architecture, Vitruvius, implied that his predecessors knew very well how to design a theatre to emphasize the human voice. “By the rules of mathematics and the method of music,” he wrote, “they sought to make the voices from the stage rise more clearly and sweetly to the spectators’ ears… by the arrangement of theatres in accordance with the science of harmony, the ancients increased the power of the voice.”
Later writers have speculated that the excellent acoustics of Epidaurus, built in the fourth century BC, might be due to the prevailing direction of the wind (which blows mainly from the stage to the audience), or might be a general effect of Greek theatre owing to the speech rhythms or the use of masks acting as loudspeakers. But none of this explains why a modern performer at Epidaurus, which is still sometimes used for performances, can be heard so well even on a windless day.
Declercq and Dekeyser suspected that the answer might be connected to the way sound reflects off corrugated surfaces. It has been known for several years now that these can filter sound waves to emphasize certain frequencies, just as microscopic corrugations on a butterfly wing reflect particular wavelengths of light. The sound-suppressing pads of ridged foam that can plastered on the walls of noisy rooms also take advantage of this effect.
Declercq has shown previously that the stepped surface of a Mayan ziggurat in Mexico can make handclaps or footsteps sound like bird chirps or rainfall. Now he and Dekeyser have calculated how the rows of stone benches at Epidaurus affect sound bouncing off them, and find that frequencies lower than 500 hertz are more damped than higher ones.
Murmur murmur
“Most of the noise produced in and around the theatre was probably low-frequency noise,” the researchers say: rustling trees and murmuring theatre-goers, for instance. So filtering out the low frequencies improves the audibility of the performers’ voices, which are rich in higher frequencies, at the expense of the noise. “The cut-off frequency is right where you would want it if you wanted to remove noise coming from sources that were there in ancient times,” says Declercq.
Declercq cautions that the presence of a seated audience would alter the effect, however, in ways that are hard to gauge. “For human beings the calculations would be very difficult because the human body is not homogeneous and has a very complicated shape,” he says.
Filtering out the low frequencies means that these are less audible in the spoken voice as well as in background noise. But that needn’t be a problem, because the human auditory system can ‘put back’ some of the missing low frequencies in high-frequency sound.
“There is a neurological phenomenon called virtual pitch that enables the human brain to reconstruct a sound source even in the absence of the lower tones,” Declercq says. “This effect causes small loudspeakers to produce apparently better sound quality than you’d expect.”
Although many modern theatres improve audibility with loudspeakers, Declercq says that the filtering idea might still be relevant: “In certain situations such as sports stadiums or open-air theatres, I believe the right choice of the seat row periodicity or of the steps underneath the chairs may be important.”
原文:Why the Greeks could hear plays from the back row
参考译文:
古希腊圆形剧场能够过滤低频背景噪音
一项新的研究表明,古希腊埃皮达罗斯(Epidaurus)圆形剧场优异的声学效果也许是缘自对复杂声学物理机制的探索。
埃皮达罗斯剧场于1881年在伯罗奔尼撒半岛地下发现然后被挖掘出来,它拥有一个希腊圆形剧场经典的半圆形外形,有34排石制座位(后来罗马人又增加了21排)。
埃皮达罗斯剧场的声学效果很特别:站在露天舞台中间表演者的声音在大约60米之外的最后一排也能被听到,建筑学家和考古学家一直在推测声音传播效果这么好的原因。
现在,亚特兰大乔治亚理工大学的Nico Declercq和Cindy Dekeyser认为,声音传播效果好的根本原因在于这些座位的排列方式。他们经过计算认为这个结构正好可以作为一个完美的声学滤波器,抑制低频部分——这也是主要的背景噪声——是讲话者高频声音传播时的噪音。
Declercq说,还不清楚这个特点是出于偶然还是人为的设计。但是不管是哪一个原因,他认为希腊人和罗马人都非常欣赏埃皮达罗斯剧场的声学效果,并且到处模仿建造。
声阶
公元前一世纪,古罗马在建筑方面的权威,维特鲁威斯(Vitruvius)认为他们的先人,对如何设计一个能够增强人声音效果的剧院很内行,他写道:“通过数学和音乐的法则,他们寻求一种方法,使得从舞台上发出来的声音能够更加清楚、悦耳地传到听众的耳朵里。通过和谐科学地排列剧院的结构,古人增强了声音的效果。”
后来的作家们推测,建造于公元前四世纪埃皮达罗斯剧场杰出的声学结构,也许是由于风向(从舞台吹到观众),或者是由于古希腊剧场里演讲者的韵律及利用面具作为扩声器的效果。但是任何一种都无法解释为什么今天的讲演者站在埃皮达罗斯剧场的舞台(至今这个剧场仍被用于演出),在一个无风的日子里仍然可以听得很清楚。
Declercq 和 Dekeyser认为答案与声音从波纹状曲面反射回来有关。几年来人们认为波纹曲面可以过滤声波并增强某个特定的频段,正象蝴蝶翅膀上细密的波纹可以反射特定波长的光一样,(剧院)墙上用来抑制声波反射的泡沫板也是利用的同样原理。
Declercq以前曾经证明,墨西哥玛雅金字塔的台阶形表面可以使鼓掌声或者是脚步声听起来像鸟唧唧叫的声音或者是下雨声。现在他和Dekeyser已经计算出埃皮达罗斯剧场的石凳是如何反射声音的。他们发现低于500Hz的低频声音比高频部分更容易衰减。
咕哝
研究者说:“剧院里大多数噪声是低频噪声,比如树叶的沙沙声和看戏人的咕哝声”, 因为表演者声音主要集中在高频,所以过滤掉低频部分抑制了噪声,增强了表演者声音的效果。“截至频率则正好是你所需要的从声源分离出的噪声频率。”,Delclercq解释说。
Declercq提醒说有观众坐在座位上时会改变这种效果,但这种改变却很难计算。“对人体而言,这个计算太难了,因为不同人的身体各不一样并有着复杂的形状,”他说。
过滤掉低频部分意味着说话的声音跟背景噪声频率差不多时不能够被听到。但是这并不是难题,因为人类的听觉系统能够自动补偿高频声音中损失的低频部分。
“这是一种叫做虚拟音调(virtual pitch)的神经生理现象,它能够使人的大脑在没有低音的时候重建声源。”Declercq解释说:“这种效应使得小扬声器的声音质量比你想象的要好得多。
尽管很多现代剧院是使用扩音器来增强可听度的,Declercq说滤波的思想仍然有用:“在特定的环境下如运动馆或者露天剧场,我认为如何选择座位的排列方式和主席台下的台阶数是很重要的。”