| Summary: | 碩士 === 朝陽科技大學 === 建築及都市設計研究所 === 94 === The music history of China has been more than 5 thousand years, and once had the good reputation of one of the top three world music cliques. The unique performance occasion was different from the large-scale performance space of the western world. For example, the Jyu-ying-she of Longshan Temple in Lugang usually rehearse and publicly perform in the courtyard of Longshan Temple. Does that mean the listening perception of performing Chinese music is different from that of Western music? This research is to discuss the wide characters of the spatial impression of the auditory sources of Chinese Nan-Gang and Western orchestral music as well as its relation to the factor remaining sounds of spatial units. The experiment takes drumbeats as the standard reference sound source, and tries to get the difference limen of the auditory source width of Chinese and Western instruments by the method of average error. According to the results, (1) The relative auditory source width of Chinese Nan-Gang to drumbeats is 67.8°(±6.5°), and that of Western orchestral music to drumbeats is 79.3°(±5.1°), between which there is an obvious difference (DF=1，F=57.512，p＜0.001); (2) After adding the remaining factors (T60=0.4、0.6s), the auditory source width of Chinese Nan-Gang remains smaller than that of Western orchestral music, and there is also an obvious difference between the two (DF=1，F=13.26，p＜0.001), and (3) When the reverberation of Western orchestral music increases, the perception of the auditory source width also increase. After the reverberation of Western orchestral music is changed, the auditory source width is obviously different (DF=1，F=11.804，p＜0.01). However, for Chinese Nan-Gang, there are no obvious differences (DF=1，F=1.8727，p＞0.05). Thus, when comparing with Western orchestral music, we could tell that Chinese Nan-Gang would not be affected no matter there is good side-wall reflection or not indoors or outdoors. And, the differences between the sound-making characters of Chinese and Western music make different spatial impressions on listeners. Thus, the performance spaces for the two are different as well.
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