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第一段
1 .Listen to part of a lecture in an architecture class.
听一段建筑课程上的一段演讲
第二段
1 .Today I'd like to talk a bit about the relationship between the built world and sound.
今天我要讲建筑与声音的关系。
2 .Uh, the design of buildings like concert halls or theaters.
嗯，像音乐厅或剧场这些建筑的设计。
3 .So, what's the most important aspect in the design of such a building?
那么，这些建筑最重要的一方面是什么？
第三段
1 .Acoustics?
声音吗？
第四段
1 .Yes. Now, people have been concerned about how sound carries in auditoriums and theaters for at least 2,000 years.
是的。人们至少在两千年前就开始注重声音在礼堂和剧院中的传播。
2 .But it was not until the beginning of the twentieth century that architectural acoustics became a scientific field.
但是直到20世纪初建筑声学才真正成为一门科学。
3 .That was when the physicist Wallace Sabine started to do extensive studies on reverberation.
这是在物理学家Wallace Sabine开始对混声的系统研究时。
第五段
1 .Sabine wanted to find out why the audience could not understand speakers at a lecture hall in Boston.
Sabine想知道为什么在波士顿的一个讲堂中观众听不懂发言人在讲什么。
2 .He designed a series of studies on reverberation to figure it out.
他设计了一系列的关于混声的实验来弄清楚这件事。
3 .So, what is reverberation?
那么混声是什么呢？
4 .It's the persistence of sound in a room after the source has stopped making sound.
它是发声体停止作响后声音在室内的持续。
5 .You see, sound made in a room reflects off the walls, floors and ceiling.
你看房间内的声音由墙壁，地面和天花板反射。
6 .That's the reverberant sound.
这就是混声
7 .The time it takes for the reverberant sound to die down is important for the acoustic quality of a room.
混声消失所用的时间对一个房间的声音质量很重要。
8 .Sabine recognized this and he came up with an equation to measure a room's reverberation time.
。Sabine发现了这点然后提出了一个公式来测定房间的混声时长。
第六段
1 .So, what happens if the reverberation time is very long?
那么，混声时间很长会怎样呢？
第七段
1 .Wouldn't it be difficult to hear new sounds if you can still hear the old sounds?
如果你还能听到之前的声音，不会很难听到新声音么？
第八段
1 .Exactly. A long reverberation time may cause musical notes to drown one another out.
正是。长的混声时间会使音符互相掩盖。
第九段
1 .On the other hand, if the reverberation time is very short... meaning, the reverberations are absorbed very quickly, the room is called dead.
反之，如果混声时间非常短，说明回音很快被吸收了，这种是死气沉沉的房间。
2 .Performers would feel they have to struggle to fill the room with sound.
演奏者会感到他们要非常努力的让房间充满声音。
3 .We don't want that.
我们不希望这样。
4 .In a concert hall or theater, we prefer a live room, where the sound has fullness.
在一个音乐厅或是剧场，我们想要有生命的房间，声音很饱满。
第十段
1 .So we need to control the reverberation time.
所以我们需要控制混声时长。
2 .After all, we don't want the listeners or the performers have to struggle, right?
毕竟我们不想让听众或是演出者精疲力尽，对吧？
第十一段
1 .So what are some important considerations when we design a theater or a concert hall?
那么我们设计剧院或音乐厅时还需要注意些什么？
第十二段
1 .The size of the place?
房间的大小？
2 .Absolutely. The larger the room, the longer the reverberation time.
没错。房间越大混声时间越长。
3 .So we'll have to take into account what the room will be mainly used for, since music requires more reverberation than speech.
所以我们要考虑一个房间主要的用途，因为音乐比讲话更需要混声。
4 .A room intended for music needs to be designed differently from a room intended for drama.
用于音乐的房间应该和用于戏剧的房间设计的不一样。
5 .For music, we need a very large room, a concert hall, actually I should say for full orchestras.
对音乐来讲，其实准确的说是对管弦乐团来说，我们需要一个大房间，一个音乐厅。
6 .Because for a single instrument, say something like a piano recital, a room with a short reverberation time is better.
因为对单独一个乐器来说，比如像钢琴演出，一个混声时间短的房间比较好。
7 .So for a solo piano a smaller room works well. Yes?
因此，对钢琴独奏而言一个小房间就行了。请讲？
第十三段
1 .I read that concert halls designed for symphony orchestras have too much echo for jazz music.
我读过为管弦乐团设计的音乐厅对爵士乐来说回音太多了。
第十四段
1 .That doesn't surprise me.
这一点也不奇怪。
2 .Most small jazz groups would need rooms with a shorter reverberation time.
大多数小的爵士乐团都需要混声时间短的房间。
第十五段
1 .But besides the size of the room, another variable affecting reverberation is the shape of the room.
但是除了房间的大小，影响混声的要素还有房间的形状。
2 .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.
假设你要设计一个墙壁和天花板没有修饰的方形空间，这会使声音像个壁球一样，你知道弹来弹去，撞到墙和天花板的一些地方，却漏了其他地方。
3 .If that happens in a concert hall, audience members may hear some sounds, but not others.
如果这发生在一个音乐厅里，观众可能会听到一些声音但听不到其他的
第十六段
1 .So what can be done to distribute the sound evenly in every direction?
因此怎样才能使声音更均匀的传播到每个方向呢？
第十七段
1 .The answer is: avoid straight, parallel walls. Karen?
答案就是避免直的，平行的墙。Karen？
第十八段
1 .But I think I've seen photos of rectangular concert halls.
但是我看见过照片里的长方形的音乐厅。
第一十九段
1 .Right. Older concert halls from the 1800s are generally rectangular.
是的。19世纪的旧音乐厅通常是长方形的。
2 .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.
但是他们的内壁都有很多装饰，很多灰泥的装饰比如雕塑，他们有效的分散声音，把声音反射到不同方向。
第二十段
1 .And that brings me to another variable we need to consider.
而这引出了另外一个我们需要考虑的变量
2 .The acoustic characteristics of the building materials as well as the wall and floor coverings.
就是建材的声学特征以及墙和地面的覆盖物。
3 .In fact, most objects you see in a concert hall or theater serve double duty.
事实上，你在音乐厅或是剧院中看到的大多物品都具有双重功能。
4 .The plush chairs absorb sound and soften reverberation.
豪华的椅子吸收声音并软化混声。
5 .And the beautiful crystal Chandeliers? They are very good at diffusing sound.
而美丽的水晶吊灯呢？他们非常善于分散声音。
6 .You see, everything must be planned down to the last detail in order to predict the acoustic performance of a room.
你看，为了预测一个房间的声学效果，每件事的打算必须都精确到最最细微之处。
第二十一段
1 .That being said, there's something that can't be controlled by the architect.
虽说如此，也有些事情是不能被建筑师掌控的。
2 .The audience has an effect on acoustics too.
听众对于音响也有一定影响。
3 .The heads of people are good diffusers of sound.
人的头部能很好的分散声音。
4 .And Architects try to account for this effect in their design, but they can't guarantee a full auditorium.
而尽管建筑师试图在设计中考虑到这一效果，但他们并不能保证每次演出都是满座。