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A doctoral student performed acoustic archaeology to determine how music could have been properly appreciated in a cavernous 16th-century church. Sarah Fecht reports Venice's Church of the Most Holy Redeemer has held a musical celebration every year since its construction in 1592. And recently, the church has inspired debate among historians: How could its echoing chambers clearly portray the complicated music performed during the festival? A New York University doctoral student namedBraxton Boren decided to find out. He recorded a choir within a non-echoing chamber. [first sound sample] Next, he fed that audio into a computer simulation that he built based on the dimensions and materials of the church. [second sound sample] The muddled reverberations matched actual acoustic measurements taken within the empty church, demonstrating that the simulation was accurate. Finally, Boren recreated what the music sounded like when the church was filled with sound-absorbing tapestries and people. [third sound sample] The new simulation reduced reverberations from seven seconds long to three and a half, making the music much clearer. And so Boren settled the argument. Although to some historians he was preaching to the choir.
一位博士生做了一項實驗--十九世紀像洞穴似的教堂是如何理解音樂的。Sarah Fecht 報道說威尼斯最神圣的救世主教堂從1592年開始每年舉行一次音樂慶典。最近，這個教堂引起了歷史學家的爭論：教堂的回音室是如何清除地“演奏”這樣復雜在音樂節上呈現的樂曲？Braxton Boren ，是紐約大學的博士生，決定找出其中的緣由。他在沒有回聲的房間錄制了唱詩班的表演錄音【第一個聲音樣本】，然后，把樣本放到他制作的基于教堂的大小和材質的計算機模擬仿真系統里，【第二個樣本】混合的回聲與真實的采集于空教堂的聲學測量匹配，來證明仿真系統的準確性。最后，他再次制作了在教堂里裝飾著掛毯和擠滿了人時的現場聲音。【第三個樣本】新的仿真系統降低了回聲時間從7秒至3.5秒，讓聲音更加清晰。因此，Boren 解決了歷史學家們的爭論。盡管對有些歷史學家來說，他就像正在對著唱詩班步道一樣。
