Reverberation托福听力原文翻译及问题答案

Reverberation托福听力原文翻译及问题答案

一、Reverberation托福听力原文：

NARRATOR:Listen to part of a lecture in an architecture class.MALE PROFESSOR:Today I'd like to talk a bit about the relationship between the built world and sound.Uh,the design of buildings like concert halls or theaters.So,what's the most important aspect in the design of such a building?MALE STUDENT:Acoustics?MALE PROFESSOR:Yes.Now,people have been concerned about how sound carries in auditoriums and theaters for at least 2,000 years.But it was not until the beginning of the twentieth century that architectural acoustics became a scientific field.That was when the physicist Wallace Sabine started to do extensive studies on reverberation.Sabine wanted to find out why the audience could not understand speakers at a lecture hall in Boston.He designed a series of studies on reverberation to figure it out.So,what is reverberation?It's the persistence of sound in a room after the source has stopped making sound.You see,sound made in a room reflects off the walls,floors and ceiling—that's the reverberant sound.The time it takes for the reverberant sound to die down is important for the acoustic quality of a room.Sabine recognized this and he came up with an equation to measure a room's reverberation time.So,what happens if the reverberation time is very long?MALE STUDENT:Wouldn't it be difficult to hear new sounds if you can still hear the old sounds?MALE PROFESSOR:Exactly.A long reverberation time may cause musical notes to drown one another out.On the other hand,if the reverberation time is very short,meaning,the reverberations are absorbed very quickly,the room is called dead.Performers would feel they have to struggle to fill the room with sound.We don't want that.In a concert hall or theater,we prefer a live room,where the sound has fullness.

So we need to control the reverberation time.After all,we don't want the listeners or the performers to have to struggle,right?So what are some important considerations when we design a theater or a concert hall?MALE STUDENT:The size of the place?

MALE PROFESSOR:Absolutely.The larger the room,the longer the reverberation time.So we'll have to take into account what the room will be mainly used for,since music requires more reverberation than speech.A room intended for music needs to be designed differently from a room intended for drama.

For music,we need a very large room,a concert hall,actually I should say for full orchestras.Because for a single instrument,say something like a piano recital,a room with a short reverberation time is better.So for a solo piano a smaller room works well.Yes?MALE STUDENT:I read that concert halls designed for symphony orchestras have too much echo for jazz music.MALE PROFESSOR:That doesn't surprise me.Most small jazz groups would need rooms with a shorter reverberation time.But besides the size of the room,another variable affecting reverberation is the shape of the room.Let's say you design a rectangular box-like space with bare walls and ceiling,this would allow the sound to act like a ball in a racquetball court,you know,bouncing around and hitting some parts of the walls and ceiling but missing many others.If that happens in a concert hall,audience members may hear some sounds,but not others.So what can be done to distribute the sound evenly in every direction?The answer is:avoid straight,parallel walls.Karen?MALE STUDENT:But I think I've seen photos of rectangular concert halls.MALE PROFESSOR:Right.Older concert halls from the 1800s are generally rectangular.But they all have a lot of decorations on the walls inside,lots of ornamental plasterwork like statues,which distribute sound very efficiently,reflecting it in all different directions.And that brings me to another variable we need to consider.The acoustic characteristics of the building materials as well as the wall and floor coverings.

In fact,most objects you see in a concert hall or theater serve double duty.The plush chairs absorb sound and soften reverberation.And the beautiful crystal Chandeliers?They are very good at diffusing sound.You see,everything must be planned down to the last detail in order to predict the acoustic performance of a room.

That being said,there's something that can't be controlled by the architect.The audience has an effect on acoustics too.The heads of people are good diffusers of sound.And Architects try to account for this effect in their design,but they can't guarantee a full auditorium.

二、Reverberation托福听力中文翻译：

旁白：听一节建筑学课的讲座。男教授：今天我想谈谈建筑世界和声音之间的关系。呃，音乐厅或剧院等建筑的设计。那么，在这样一座建筑的设计中，最重要的方面是什么？男学生：声学？男教授：是的。现在，人们已经关注声音在礼堂和剧院中传播的方式至少有2000年了。但直到二十世纪初，建筑声学才成为一个科学领域。物理学家华莱士·萨宾（Wallace Sabine）开始对混响进行广泛研究。萨宾想弄清楚为什么听众听不懂波士顿演讲厅的演讲者。他设计了一系列关于混响的研究来解决这个问题。那么，什么是混响？这是源停止发出声音后，声音在房间中的持续性。你看，房间里发出的声音会反射到墙壁、地板和天花板上，这就是混响声。混响声音衰减所需的时间对房间的声学质量很重要。萨宾意识到了这一点，他提出了一个测量房间混响时间的方程。那么，如果混响时间很长，会发生什么？男学生：如果你仍然能听到旧的声音，你会很难听到新的声音吗？男教授：没错。长的混响时间可能导致音符相互淹没。另一方面，如果混响时间很短，也就是说，混响很快被吸收，房间就被称为死区。表演者会觉得他们必须努力让房间充满声音。我们不想这样。在音乐厅或剧院里，我们更喜欢现场直播的房间，那里的声音充满。

所以我们需要控制混响时间。毕竟，我们不希望听众或表演者不得不挣扎，对吧？那么，当我们设计剧院或音乐厅时，有哪些重要的考虑因素？男学生：这个地方有多大？

男教授：当然。房间越大，混响时间越长。因此，我们必须考虑房间的主要用途，因为音乐需要比语音更多的回响。用于音乐的房间需要与用于戏剧的房间设计不同。

对于音乐，我们需要一个非常大的房间，一个音乐厅，实际上，我应该说是一个完整的管弦乐队。因为对于单一乐器，比如说钢琴独奏会，回响时间短的房间更好。因此，对于独奏钢琴来说，较小的房间效果良好。对男学生：我读到为交响乐团设计的音乐厅对爵士乐有太多的回声。男教授：这并不令我惊讶。大多数小型爵士乐团需要混响时间较短的房间。但除了房间的大小之外，影响混响的另一个变量是房间的形状。假设你设计了一个长方形的盒子状空间，墙壁和天花板都是裸露的，这会让声音像壁球场上的一个球，你知道，弹跳并撞击墙壁和天花板的一些部分，但却错过了许多其他部分。如果这种情况发生在音乐厅，观众可能会听到一些声音，但不会听到其他声音。那么，怎样才能使声音在各个方向上均匀分布呢？答案是：避免笔直、平行的墙壁。凯伦？男学生：但我想我看过长方形音乐厅的照片。男教授：对。19世纪早期的音乐厅通常是矩形的。但是他们在里面的墙上都有很多装饰，很多装饰性的石膏制品，像雕像，它们非常有效地传播声音，将声音反射到各个不同的方向。这就引出了我们需要考虑的另一个变量。建筑材料以及墙壁和地板覆盖物的声学特性。

事实上，你在音乐厅或剧院看到的大多数物体都有双重功能。毛绒椅子吸收声音并软化回响。还有漂亮的水晶吊灯？它们非常善于扩散声音。你看，为了预测房间的声学性能，一切都必须计划到最后一个细节。

也就是说，有些东西是建筑师无法控制的。观众对声学也有影响。人的头部是声音的良好扩散器。建筑师们试图在他们的设计中考虑到这种影响，但他们不能保证一个完整的礼堂。

三、Reverberation托福听力问题：

Q1:1.What is the main purpose of the lecture?

A.To explain how musicians can perform successfully in theaters and concert halls with poor acoustics

B.To explain how the design of theaters and concert halls has changed over time

C.To discuss design factors that affect sound in a room

D.To discuss a method to measure the reverberation time of a room

Q2:2.According to the lecture,what were Sabine's contributions to architectural acoustics?[Click on 2 answers.]

A.He founded the field of architectural acoustics.

B.He developed an important formula for measuring a room's reverberation time.

C.He renewed architects'interest in ancient theaters.

D.He provided support for using established architectural principles in the design of concert halls.

Q3:3.According to the professor,what is likely to happen if a room has a very long reverberation time?

A.Performers will have to make an effort to be louder.

B.Sound will not be scattered in all directions.

C.Older sounds will interfere with the perception of new sounds.

D.Only people in the center of the room will be able to hear clearly.

Q4:4.Why does the professor mention a piano recital?[Click on 2 answers.]

A.To illustrate that different kinds of performances require rooms with different reverberation times

B.To demonstrate that the size of the instrument can affect its acoustic properties

C.To cite a type of performance suitable for rectangular concert hall

D.To exemplify that the reverberation time of a room is related to its size

Q5:5.According to the professor,what purpose do wall decorations in older concert halls serve?

A.They make sound in the hall reverberate longer.

B.They distribute the sound more evenly in the hall.

C.They make large halls look smaller and more intimate.

D.They disguise structural changes made to improve sound quality.

Q6:6.Why does the professor say this:

A.To find out if students have understood his point.

B.To indicate that he will conclude the lecture soon.

C.To introduce a factor contradicting his previous statement.

D.To add emphasis to his previous statement.

四、Reverberation托福听力答案：

A1:正确答案：C

A2:正确答案：AB

A3:正确答案：C

A4:正确答案：AD

A5:正确答案：B

A6:正确答案：C

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