Acoustic Responses and Listening Impression of Six Roof Shapes in a Music Practice Space: A Case Study of Jazz Campus at Basel, Switzerland

• Main Authors: Pandu Dewata Tedja Buana, 鄭順福
• Other Authors: Shin-Jyun Tsaih
• Format: Others
• Language: en_US
• Published: 2019
• Online Access: http://ndltd.ncl.edu.tw/handle/3up89v

碩士 === 國立臺灣科技大學 === 建築系 === 107 === A music exercise space is a room with the purpose of facilitating musicians being able to improve their music skills and listening abilities. ANSI S12.60 recommends that music performance spaces and learning spaces (such as music rooms for instruction and exercise) must have suitable acoustic design. The acoustic quality of a room can be examined by using acoustic parameters such as loudness (SPL), Early Decay Time (EDT), Music Clarity (C80), and Reverberation Time (T30). Because spaces have an impact on the acoustic properties of sound, room shape and all architectural elements have a big role in creating a certain acoustic quality that can encourage people to practice inside. One architectural element that has a big role in creating a space is the roof. It not only provides a shelter to cover the space itself, but also defines spaces. This research focuses on a case study at the Jazz Campus at Basel, Switzerland, where the roof shapes of music exercise rooms are changed. A music practice space in Jazz Campus’ 3D model has been created with the same layout and building material. The model’s roof was modified into several different shapes. Changing the roof shapes follows the angle of the roof, the direction of the roof’s slope, and the number of sides. By following these rules, six different roof shapes were studied, as follows: original, 15°, 30°, flat, butterfly, and shed. These were studied to define how the roof shape can affect the sound, how people perceive the acoustic quality that is produced by different roof shapes, and which shape has the optimum value of EDT, T30, SPL, and C80 performance. The impulse responses from six roof shapes were convolved with an anechoic recording of “oboe Danish 2” music from the Odeon Signal Library for listening evaluation. There were 30 participants for this listening evaluation. Out of 30 participants, 7 were musicians. By using quantitative and qualitative methods to examine the data, it can be concluded that the 15° roof shape is the most preferable space to practice music. Moreover, 30% of the respondents mentioned that the 15° roof shape has a good balance between loudness, reverberation time, and clarity. Further, 80% of the overall participants agreed that it was not easy to identify the acoustic response of the six roof shapes. For groups of musicians, Anechoic and butterfly roof shapes are the preferable practice spaces.