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建筑声学被描述为一种黑色艺术的东西或者怜惜点的说，一个神秘的科学。虽然不是纯粹的艺术，它也要作到即漂亮又实用。本文是设计了广州音乐厅的声学家马歇尔·朗的《建筑声学》一书的第一章，介绍了自古以来建筑声学，包括剧场以及音乐的发展历史
The first half of the seventeenth century was dominated by the Thirty Years War (1618–1648), which ravaged the lands of Germany and central Europe. This confusing struggle was one of shifting alliances that were formed across religious and political boundaries (Hindley,1965). The end result was a weakening of the Hapsburg empire and the rise of France as the dominant power in Europe. Italy became a center for art and music during that period, in large part because it was relatively unscathed by these central European wars. In northern Italy a style, which became known as the Baroque (after the Portuguese barocco, a term meaning a distorted pearl of irregular shape), grew out of the work of a group of Florentine scholars and musicians known as the Camerata (from the Italian camera, or chamber). This group abandoned the vocal polyphony of Renaissance sacred music and developed a new style featuring a solo singer with single instrumental accompaniment (the continuo) to provide unobtrusive background support for the melodic line. The new music was secular rather than sacred and dramatic, and passionate rather than ceremonial (Hemming, 1988), and allowed for considerably more freedom by the performer. 十七世纪上半叶主要是蹂躏德国和欧洲中部的三十年战争(1618-1648), 这个混乱的斗争是定义宗教和政治边界的重要力量之一(辛德雷,1965)，最后是哈布斯堡帝国的削弱和法国作为欧洲的主导力量的崛起。在此期间意大利成为艺术和音乐的中心，大部分原因是因为在中欧战争中的损失相对较小。在意大利北部一种风格从佛罗伦萨的学者和叫做卡梅拉塔的音乐家们的工作中发展出来，成为著名的巴洛克风格(含义是不规则的珍珠)。这伙人摒弃了文艺复兴时期的宗教复调音乐，发展了一个用单一乐器来对旋律提供背景伴奏的新独唱风格。新音乐是世俗的而不是神圣和戏剧性的，充满激情的而不是仪式化的，并给予表演者相当多的的自由。 Both the music and the architecture of the Baroque period was more highly ornamented than that of the Renaissance. Composers began writing in more complicated musical forms such as the fugue, chaconne, passacaglia, toccata, concerto, sonata, and oratorio. Some of the vocal forms, such as the cantata, oratorio, and opera, grew out of the work of the Camerata. Others developed from the architecture and influence of a particular space. St. Mark’s Cathedral in Venice was shaped like a nearly square cross with individual domes over each arm and above the center (see Fig. 1.7). These created localized reverberant fields, which supported the widely separated placement of two or three ensembles of voices and instruments that could perform as separate musical bodies. Gabrielli (1557–1612), who was organist there for 27 years, exploited these effects in his compositions, including separate instrument placement, call and response sequences, and echo effects. In less than 100 years this style had been transformed into the concerto grosso (Burkat, 1998). 巴洛克时期无论是音乐或是建筑都比文艺复兴时期更注重装饰。作曲家开始撰写更复杂的音乐形式如赋格曲，夏康舞曲，帕萨卡里亚，触技曲，协奏曲，奏鸣曲和圣乐。某些形式的声乐如清唱剧，神剧和歌剧，前身是卡梅拉塔。其他形式在建筑和特定空间的影响下发展起来：圣马可大教堂是威尼斯的一个平面像近方形的十字建筑，其中心和每个肩上都带有圆顶(见建筑声学的发展历史(五))。这种空间形成了区域性的回响，两个或三个相距较远的歌声和乐器的合奏可以被视为独立的音乐个体的单独演奏。在那里做了27年管风琴手的加布里埃利(1557-1612)在自己的作品里利用了这些影响，包括单独位置的乐器，混响调用和回音效果。不到100年时间这种风格演变成为了协奏曲(Burkat,1998)。 The progress in theater construction in Northern Italy was also quite rapid. The illusion stages gave way to auditoria with horizontally sliding flats, and subsequently to moveable stage machinery. The Theatro Farnese in Parma, constructed between 1618 and 1628 by Giovanni Battista Aleotti, had many features of a modern theater. Shown in Fig. 1.11, it featured horizontal set pieces, which required protruding side walls on either side of the stage opening to conceal them. This allowed set changes to be made and provided entrance spaces on the side wings for the actors to use without appearing out of scale. The U-shaped seating arrangement afforded the patrons a view, not only of the stage, but also of the prince,whose box was located on the centerline. 在意大利北部剧场的发展也相当迅速：描绘的舞台背景让位给横向滑动的机关，随后演变成可移动的舞台机械。公元1618年到1628年之间构建的帕尔马的法尔内塞剧场有着现代剧场的许多特点：需要推动舞台开口两侧的侧墙来遮掩水平设施，这允许了舞台布景的变换和使用并为演员从两侧的出场提供了的入口空间。U形座位为观众们不仅仅提供了舞台方向的视角，也为观察坐在中心线包厢上的王子提供了帮助。
法尔内塞剧场，帕尔马 In Florence at the Medici court, operas were beginning to be written. The first one was Dafne, which is now lost, written between 1594 and 1598 by Peri (Forsyth, 1985). The first known opera performance was Peri’s Euridice, staged at a large theater in the Pitti Palace to celebrate the wedding of Maria de’Medici and King Henri IV of France in 1600. This was followed by Monteverdi’s Orfeo, first performed in 1607 in Mantua, which transformed opera from a somewhat dry and academic style to a vigorous lyric drama. 人们开始在佛罗伦萨的美第奇写歌剧。历史上的第一部歌剧是已经遗失了的《达芙妮》，由佩里从公元1594年到1598年之间写成(福塞斯,1985)。第一个著名的表演是在碧提宫的大剧院上演的佩里的歌剧《尤丽狄茜》，以庆祝1600年的玛丽亚·代·梅迪奇和法国国王亨利四世的婚礼。其次是1607年在曼图亚进行的威尔第歌剧的首映《奥菲欧》，他把歌剧从一个有点干涩的学术风格变成了抒情故事剧。 By 1637, when the first public opera house was built in Venice (Fig. 1.12), the operatic theater had become the multistory U-shaped seating arrangement of the Theatro Farnese, with boxes in place of tiers. Later the seating layout further evolved from a U shape into a truncated elliptical shape. The orchestra, which had first been located at the rear of the stage and then in the side balconies, was finally housed beneath the stage as is the practice today (Breton, 1989). The stage had widened further and now had a flyloft with winches and levers to manipulate the scenery. This became the typical Baroque Italian opera house, which was the standard model replicated throughout Europe with little variation for 200 years. 第一个公共歌剧院与公元1637年建于威尼斯，剧院的座位安排成像是帕尔马的法尔内塞剧场里的多层U形，带有包厢，后来的歌剧院的座位布局从U形进一步发展成截断的椭圆形。最初乐团在舞台后面，后来在看台边，在现代最终被安置在舞台下面(布雷顿,1989)。舞台进一步变宽，有一个带有绞盘和杠杆的控制升降的阁楼来操纵布景幕布。这个成为整个欧洲的模型的典型的巴洛克式的意大利歌剧院,200年来没有太大的变化。 Italy immediately became the center of opera in Europe. In the years between 1637 and the end of the century, 388 operas were produced in Venice alone. Nine new opera houses were opened during this period, and after 1650, never fewer than four were in simultaneous operation (Grout, 1996). These early opera houses served as public gathering places. For the equivalent of about 50 cents, the public could gain entry to the main floor, occupied by standing patrons who talked and moved about during the performances. The high background noise is documented in many complaints in writings of the time. It led to the practice of loudly sounding a cadential chord to alert the audience of an impending aria. In a forerunner of contemporary films, special effects became particularly popular. As the backstage equipment grew more complicated and the effects more extravagant, the noise of the machines threatened to drown out the singing. Composers would compensate by writing instrumental music to mask the background sounds. The popularity of these operas was so great that the better singers were in considerable demand. Pieces were written to emphasize the lead singer’s particular ability with the supporting roles de-emphasized. 意大利立刻成为欧洲的歌剧中心,从公元1637年到17世纪末之间单单在威尼斯就出现了388部歌剧。九个新歌剧院在此期间落成，1650年后从来没有少于过4家剧院同时对公众开放。这些早期的歌剧院是聚集的场所。用大约相当于50美分的价钱，公众可进入主楼层，站着的观众们在那里出入交谈。据记载高背景噪声当时被大量的投诉，它导致了大声的节奏和弦以及咏叹调的产生和实践。作为当代电影的先驱，特效变得特别受欢迎，后台设备变得更加复杂，舞台效果变得更奢侈，机器噪音对歌声产生威胁。作曲家创造乐器背景乐来掩盖噪音。这些歌剧是如此的普及，使得好歌唱家难求，强调主唱忽视配唱的乐曲因而被创作出来。 The seventeenth century also saw the rise of the aristocracy and with it, conspicuous consumption. Churches and other public buildings became more ornate with applied decorative elements, which came to symbolize the Baroque style. Music began to be incorporated into church services in the form of the oratorio, a sort of religious opera staged without scenery or costumes. In Rome the Italian courts were opulent enough to embrace opera as a true spectacle. Pope Urban VII commissioned the famous Barberini theater based on a design of Bernini, which held 3000 people and opened in 1632 with a religious opera by Landi. 十七世纪是贵族的崛起以及炫耀性消费的时代。教堂和其他公共建筑变得更加注重装饰，更加华丽，成为了巴洛克风格的象征。音乐开始以清唱剧，一种没有背景或服装的宗教歌剧的形式被纳入到教会活动中。教皇乌尔班七世委托贝尔尼尼设计的著名的的巴贝里尼剧院，可以容纳3000人，它在1632年开放并表演了由兰迪谱写的宗教歌剧。 In the Baroque era instrumental music achieved a status equal to vocal music. Musical instruments became highly sophisticated in the seventeenth and eighteenth centuries and in some cases achieved a degree of perfection in their manufacture that is unmatched today.The harpsichord and the instruments of the violin family became the basic group for ensemble music. Violins fashioned by craftsmen such as Nicolo Amati (1569–1684), Giuseppi Guarneri (1681–1742) and Antonio Stradivari (1644–1737) are still the best instruments ever made. The lute, which was quite popular at the beginning of the period, was rarely used at the end. Early wind instruments had been mainly shawms (later oboes), curtals (later bassoons), crumhorns, bagpipes, fifes and drums, cornets, and trumpets. New instruments were developed, specifically the recorder, the transverse flute, oboe, and bassoon. The hunting horn having a five-and-one-half-foot tube wound into four or five loops before flaring into a bell, was improved in France by reducing the number of loops and enlarging the bell. When it became known in England, it was given the name French horn. By the early 1600s, the pipe organ had developed into an instrument of considerable technical development. 器乐在巴洛克时期取得了与声乐平等的地位。乐器在十七和十八世纪变得高度复杂，某些情况下在制造上取得了无与伦比的完美。大键琴和小提琴家族成为合奏音乐的基本组成乐器。小提琴工匠如阿马蒂（1569-1684），德尔杰苏?瓜奈利(1681-1742)和安东尼奥 - 斯特拉迪瓦里（1644-1737）制作的小提琴仍是有史以来最好的乐器。鲁特琴在巴洛克初期颇为流行，但在最后就很少使用了。早期的管乐器主要有萧姆管(双簧管的前身)，低音管(巴松管的前身)，crumhorns，风笛，短笛和鼓，短号和喇叭。新开发的乐器有刻录机，横长笛，双簧管和大管。狩猎的号角在法国进行了改进，它在英格兰被命名为法国号。17世纪初的管风琴也已经发展到了一个相当高的技术水平。 Antonio Vivaldi (1678–1741), now recognized as one of the foremost Baroque composers, first learned violin from his father, who was a violinist at St. Mark’s in Venice. He was a priest and later (1709) music director at a school for foundling girls, the Seminario dell’Ospitale della Pieta. His intricate compositions for the violin and other instruments of the time feature highly detailed passages characteristic of what is now known as chamber music, written for small rooms or salons. 现今被公认为最重要的巴洛克作曲家之一，安东尼奥·维瓦尔第(1678-1741)首先从他在威尼斯圣马可教堂的小提琴手父亲那里学习了小提琴弹奏。他先是一个牧师，后来在一个看护和教育遗弃女孩儿的学校-皮埃塔孤儿院做音乐教师。他当时为小提琴和其他乐器所写的乐曲有着高度复杂的段落结构，现在被认为是为小房间或沙龙撰写的室内乐的特点。 In Protestant northern Europe the spoken word was more important to the religious service than in the Catholic south. The volume of the northern church buildings was reduced to provide greater clarity of speech. The position of the pulpit was centrally placed and galleries were added to the naves and aisles. Many existing churches, including Thomaskirche in Leipzig, were modified by adding hanging drapes and additional seating closer to the pulpit (Forsyth, 1985). Johann S. Bach (1685–1750) was named cantor there in 1722, to the disappointment of the church governors. He was their second choice behind Georg Philip Telleman (1681–1767). Bach was influenced by the low reverberation time of the church, which has been estimated to have been about 1.6 seconds (Bagenal, 1930). His B-Minor Mass and the St. Matthew Passion were both composed for this space. 在新教的北欧会话比在南部的天主教的宗教服务更为重要。为了更好的语音清晰度北部教堂的建筑体积变小了。讲坛的位置是在中央，画廊被放置到殿和过道里。许多现有的教堂，包括在莱比锡的圣多马教堂进行了修改，在靠近讲坛的位置加入挂帘的和额外的座位(福塞斯,1985)。约翰.巴赫(1685-1750)在1722年被任命为那里的合唱指挥家。他是续教堂官泰勒曼后的第二人选(1681-1767)。巴赫被较低的当时大约1.6秒的混响时间所影响，他的B小调弥撒曲和圣马太受难曲都是为这个空间而写的。 Bach wrote music for reverberant spaces as well as for intimate rooms. During his early years in Weimar (1703–1717) he composed mostly religious music including some of his most renowned works for organ, the Passacaglia and double Fugue in C minor and the Toccata and Fugue in D minor. His Brandenberg Concertos, composed for the orchestra at the little court of Anhalt-Cothen, were clearly meant to be played in a chamber setting, as were the famous keyboard exercises known as the Well Tempered Clavier, which were written for each of the 24 keys in the system of equal-tempered tuning, completed about the same time. 巴赫的音乐是为混响空间以及亲密的房间所创作的。他早年在魏玛(1703-1717)创作了一些包括最知名的管风琴作品的宗教音乐，帕萨卡里亚和双C小调赋格曲和托卡塔与赋格的D小调。他为乐团在安哈尔特的一个小厅的作品-勃兰登堡协奏曲，显然是为了在一个音乐厅演出而写的。 Baroque music was performed in salons, drawing rooms, and ballrooms, as well as in churches. In general the former were not specifically constructed for music and tended to be small. The orchestras were also on the smallish side, around twenty-five musicians, much like chamber orchestras today. As rooms and audiences grew larger, louder instruments became more popular. The harpsichord gave way to the piano, the viola da gamba to the cello, and the viol to the violin. The problem of distributing the sound evenly to the listener was soon recognized, but there were few useful guidelines. In England Thomas Mace published (1676) suggestions for the designer in his Musick’s Monument or a Rememberancer of the best practical Musick. He recommended a square room with galleries on all sides surrounding the musicians, much like a theater in the round. Mace advocated piping the sound from the musicians to the rear seats through tubes beneath the floor, a device that was used extensively in the Italian opera houses of the day, and contemporaneously in loud-speaking trumpets, which were employed as both listening and speaking devices (Forsyth, 1985). 巴洛克音乐是在沙龙，客厅，舞厅以及教堂里演奏的。沙龙，客厅和舞厅一般不是特意为演奏音乐所设计的空间。乐团亦是小型，由25个音乐家组成，就像今天的室乐团。由于房间越来越大及观众越来越多，响亮的乐器越来越流行：大键琴让位给了钢琴，古大提琴让位给大提琴，中世纪的弦乐器让位给小提琴。人们很快意识到使音乐在听众之间均匀分布的问题，但有用的指导很少。英国的托玛斯·马斯的书中(1676)就有他对设计师的建议，他建议音乐厅应该是一个围绕着音乐家四面带有走廊的方形房间。马斯主张通过地板下方的管道把声音从音乐家的位置传送到后方观众席- 一个放大声音的号角，在今天的意大利歌剧院被广泛使用的设备(福塞斯,1985)。 版权声明：
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