Reverberation托福聽力原文翻譯及問題答案

Reverberation托福聽力原文翻譯及問題答案

一、Reverberation托福聽力原文：

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托福聽力中文翻譯：

旁白：聽一節(jié)建筑學課的講座。男教授：今天我想談談建筑世界和聲音之間的關系。呃，音樂廳或劇院等建筑的設計。那么，在這樣一座建筑的設計中，最重要的方面是什么？男學生：聲學？男教授：是的?，F在，人們已經關注聲音在禮堂和劇院中傳播的方式至少有2000年了。但直到二十世紀初，建筑聲學才成為一個科學領域。物理學家華萊士·薩賓（Wallace Sabine）開始對混響進行廣泛研究。薩賓想弄清楚為什么聽眾聽不懂波士頓演講廳的演講者。他設計了一系列關于混響的研究來解決這個問題。那么，什么是混響？這是源停止發(fā)出聲音后，聲音在房間中的持續(xù)性。你看，房間里發(fā)出的聲音會反射到墻壁、地板和天花板上，這就是混響聲?；祉懧曇羲p所需的時間對房間的聲學質量很重要。薩賓意識到了這一點，他提出了一個測量房間混響時間的方程。那么，如果混響時間很長，會發(fā)生什么？男學生：如果你仍然能聽到舊的聲音，你會很難聽到新的聲音嗎？男教授：沒錯。長的混響時間可能導致音符相互淹沒。另一方面，如果混響時間很短，也就是說，混響很快被吸收，房間就被稱為死區(qū)。表演者會覺得他們必須努力讓房間充滿聲音。我們不想這樣。在音樂廳或劇院里，我們更喜歡現場直播的房間，那里的聲音充滿。

所以我們需要控制混響時間。畢竟，我們不希望聽眾或表演者不得不掙扎，對吧？那么，當我們設計劇院或音樂廳時，有哪些重要的考慮因素？男學生：這個地方有多大？

男教授：當然。房間越大，混響時間越長。因此，我們必須考慮房間的主要用途，因為音樂需要比語音更多的回響。用于音樂的房間需要與用于戲劇的房間設計不同。

對于音樂，我們需要一個非常大的房間，一個音樂廳，實際上，我應該說是一個完整的管弦樂隊。因為對于單一樂器，比如說鋼琴獨奏會，回響時間短的房間更好。因此，對于獨奏鋼琴來說，較小的房間效果良好。對男學生：我讀到為交響樂團設計的音樂廳對爵士樂有太多的回聲。男教授：這并不令我驚訝。大多數小型爵士樂團需要混響時間較短的房間。但除了房間的大小之外，影響混響的另一個變量是房間的形狀。假設你設計了一個長方形的盒子狀空間，墻壁和天花板都是裸露的，這會讓聲音像壁球場上的一個球，你知道，彈跳并撞擊墻壁和天花板的一些部分，但卻錯過了許多其他部分。如果這種情況發(fā)生在音樂廳，觀眾可能會聽到一些聲音，但不會聽到其他聲音。那么，怎樣才能使聲音在各個方向上均勻分布呢？答案是：避免筆直、平行的墻壁。凱倫？男學生：但我想我看過長方形音樂廳的照片。男教授：對。19世紀早期的音樂廳通常是矩形的。但是他們在里面的墻上都有很多裝飾，很多裝飾性的石膏制品，像雕像，它們非常有效地傳播聲音，將聲音反射到各個不同的方向。這就引出了我們需要考慮的另一個變量。建筑材料以及墻壁和地板覆蓋物的聲學特性。

事實上，你在音樂廳或劇院看到的大多數物體都有雙重功能。毛絨椅子吸收聲音并軟化回響。還有漂亮的水晶吊燈？它們非常善于擴散聲音。你看，為了預測房間的聲學性能，一切都必須計劃到最后一個細節(jié)。

也就是說，有些東西是建筑師無法控制的。觀眾對聲學也有影響。人的頭部是聲音的良好擴散器。建筑師們試圖在他們的設計中考慮到這種影響，但他們不能保證一個完整的禮堂。

三、Reverberation托福聽力問題：

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托福聽力答案：

A1:正確答案：C

A2:正確答案：AB

A3:正確答案：C

A4:正確答案：AD

A5:正確答案：B

A6:正確答案：C

>> 雅思 托福 免費測試、量身規(guī)劃、讓英語學習不再困難<<