5,980 research outputs found
European Doctorate in Sound and Vibration (EDSVS)
No full textA network of eight European Universities active in the field of sound and vibration offer doctoral training to students from Member and Associate States of the European Union and to students from third countries.
The EDSVS network will also assist all other types of Early Stage Training carried out at the EDSVS Institutions. This will include Master courses, Modular Training Courses, Training Workshops, etc.
The eight University Hosting Institutions are:
1. University of Southampton – Institute of Sound and Vibration Research, (ISVR), United Kingdom
2. Università di Ferrara – Dipartimento di Ingegneria, (DIUF), Italy;
3. Institut National des Sciences Appliquées de Lyon, (INSA), France;
4. Katholieke Universiteit Leuven – Department of Mechanical Engineering, (KUL), Belgium;
5. Trinity College Dublin – Mechanical Engineering Department, (TCD), Eire;
6. Technical University of Denmark – Acoustic Technology, (DTU), Denmark;
7. Technical University of Berlin – Institute of Technical Acoustics, (TUB), Germany;
8. Kungliga Tekniska Högskolan– MWL, The Marcus Wallenberg Laboratory for Sound and Vibration Research, (KTH), Sweden.
Training will be provided for all subjects related to acoustic noise and vibration. Therefore this is a multidisciplinary project, which involves training in engineering, environmental, physics, mathematical and life sciences. Additional training support will be available for language courses, computing courses and research project planning and management.
Each doctoral student under this programme will have a “Home Institute” and a “Hosting Institute”, which will jointly define the doctorate programme; the supervision and support of the doctorate activity. Normally the main research activity will be carried out at the Home Institute (normally about 70% of the doctorate duration) while the remaining work will be carried at the Hosting Institute (normally about 30% of the doctorate duration).
The European Commission is financing about 18 fellowships per year to support students’ visits at the eight EDSVS Institutes. The fellowships are awarded under the EC Marie Curie Host Fellowships program “Early Stage Research Training” (EST). The allowances to the students consist of: a) monthly living allowance, b) monthly mobility allowance; c) monthly mobility allowance. The total amount of the mobility living allowances is calculated on the basis of a) annual reference rates, b) country correction coefficients and c) expected proportion of employment contracts versus stipend.
Students will be recruited either under an employment contract or a status equivalent to a fixed amount stipend. An employment contract includes all compulsory deductions under the national legislation. The reference rate for employment contract is 30,550 (€/year) while for fixed amount stipend is 15,275 (€/year).
The duration of fellowships is between 3 and 36 months with no interruptions. In order to enhance the mobility character of this program, when fellowships last more than 12 months, students are requested to carry out one or more additional visit(s) to other Hosting Institutes for a total period of three months. EST fellowships are open to “early-stage researchers” (ESR) who are defined as researchers in the first 4 years (full-time equivalent) of their research activity, including the period of research training
Risorse per la fruizione, tutela e valorizzazione acustica e visiva dei teatri antichi
No full textIl presente progetto nasce in risposta ai punti delineati nel documento “Carta di Siracusa” che tratta della conservazione, fruizione e gestione delle architetture teatrali antiche. Questo importante contributo fa proprie e sviluppa le conclusioni di simili documenti precedenti (Carta di Verona, Dichiarazione di Segesta, Carta di Ferrara etc..) circa il corretto approccio nei riguardi delle azioni sui teatri antichi. In particolare nella Carta di Siracusa è discusso e messo in evidenza il ruolo dell’acustica e dell’illuminotecnica nella valorizzazione, tutela e uso dei teatri antichi che si trovano nell’area del Mediterraneo. Come e più che nel passato infatti l’acustica e l’illuminotecnica giocano un ruolo decisivo nella vita dei teatri sia per l’aspetto museale che funzionale. Innanzitutto è bene ricordare come l’acustica sia un bene culturale proprio dei teatri antichi e come tale necessiti di una specifica strategia di conservazione. Per essa è quindi necessario fornire un supporto tecnico completo che permetta da un lato di conoscere il bene culturale e dall’altro di poterlo tramandare intatto alle future generazioni. Rispetto al passato poi sono state moltiplicate le tipologie di spettacoli che si svolgono nei teatri antichi e quindi i requisiti acustici che caratterizzano l’utilizzo moderno delle strutture deve senz’altro tenerne conto. Anche le esigenze scenotecniche ed impiantistiche per gli spettacoli moderni sono mutate profondamente rispetto al passato ed è quindi oggi necessario “aggiungere” al teatro dispositivi e strutture ad esso estranee in origine. Per affrontare le problematiche così delineate la “Carta di Siracusa” auspica la costituzione di gruppi tecnici e di ricerca a supporto delle Soprintendenze e dei responsabili gestionali dei teatri che possano così trovare raccolti e definiti i criteri di idoneità per l’utilizzo attuale delle strutture teatrali
Sound radiation prediction by scale models
No full textThe majority of acoustic modelling has
been concerned with sound quality inside rooms and auditoria. Little attempt
has been made to model the structural stiffness of the walls. These
"rigid" walled models have given good results for auditoria but
cannot be used for vehicles etc. On the other hand the structural dynamics work
has been concerned almost exclusively with the vibration of structures in
vacuo. The coupling of the wall vibration with the enclosed space has not been
investigated thoroughly. Analytical solutions are available for a few special
cases and the finite element method is being developed for use in such coupled
problems.
It is considered that there is a need
for a technique which is able to take account of the details of the
construction of a real structure. Dynamic models could play an important part
in the advance checking of the details of new designs and may have important practical
application in developing structural modifications to produce the desired acoustical
environment.
The aim of this thesis is to verify the
possibility of predicting, by scale models, the sound pressure levels inside
enclosed structures which are mechanically excited.
The thesis is divided into two main
parts: in the first part theoretical considerations have been developed with
the aim of deriving similarity conditions between the prototype and the model.
For this purpose the wave equation in an acoustic medium and the equations of
motion of simple structures have been non-dimensionalized.
The second part is concerned with
experimental work on two models: a 1/5 scale plastic model of a safety cab of a
tractor and a simple apparatus which consists of a rigid cylindrical cavity
that is closed at one end by a flexible panel.
The first model is intended to verify
the possibility of having a prediction of the dynamic and acoustic behaviour of
the real structure comparable to that obtainable by measurements performed
directly on it.
The second apparatus has the aim of
verifying the actual possibility of using an acoustic medium different from air
but compatible with the plastic models.</p
Evaluation of noise from air conditioning systems - A draft proposal
No full textThis paper discusses the practical evaluation of noise levels generated by air-conditioning and ventilating systems inside buildings. The results of this work are incorporated in a Draft Italian Standard. The criterion for evaluation is based on the difference between the total sound pressure level in the room when the noise source is working, and the background noise level. The allowable difference must decrease with the value of the background noise level. The measured sound pressure level is corrected according to the type of noise and to the acoustical characteristics of the room; impulsive noises should not be present in the system. At present this Draft Proposal, which has been developed by a Working Group of the Italian Standard Institution (UNI), is under discussion. © 1980, All rights reserved
Acoustics in the restoration of Italian historical opera houses: a review
No full textThe cultural heritage of Italian historical opera houses is of paramount importance in terms of architecture, music and acoustics. Much is known about the development of their architectural design and the selection of materials that guided the construction of such houses. In fact, traditional technologies are implemented as much as possible when refurbishments are required to ensure the halls maintain their original characteristics. Nevertheless, from an acoustic point of view, the correct approach to safeguard the heritage involves a number of issues which require great insight into the propagation of sound, the interaction with the boundary materials and the occurrence of structural vibrations. Unfortunately, the technical literature on acoustics in the restoration process consists of reports on case histories and pro-vides only limited generalisations. This review develops a comprehensive approach to the topic, covering the most sensitive acoustical issues and their potential impact on the outcome. Together with previous results, fresh data have been added to support the discussion. Moreover, basic and special procedures have been presented to deal with acoustics in the restoration process and, finally, the most important aspects to-be-researched are addressed with special regard to the role of re-radiation from lightweight structures
On the acoustics of ancient Greek and Roman theaters
No full textThe interplay of architecture and acoustics is remarkable in ancient Greek and Roman theatres. These spaces of performance are the ancestors of modern theatres both for their architectural design and for their acoustics. Despite their antiquity, in many cases they are nowadays lively performance spaces and the knowledge of the sound field inside them is in many respects still an issue of relevant importance. Even if the transition from Greek to Roman theatres can be described with a great architectural detail, a comprehensive and objective approach to the two types of spaces from the acoustical point of view is unfortunately not available yet. The present work addresses this point and has the aim of providing experimental basis to the acoustical evolution from Greek to Roman theatre design. Firstly, by means of in situ and scale model measurements, the most important features of the sound field in ancient theatres are clarified and discussed. Then it has been possible to match quantitatively the role of some remarkable architectural design variables with acoustics, and it is seen how this criteria can be used effectively to define different groups of ancient theatres. Finally some more specific wave phenomena are addressed and discussed
Guidelines for acoustical measurements inside historical opera houses: Procedures and validation
No full textThe acoustics of Italian historical theatres is to be regarded as a cultural heritage, which is to be preserved and studied. These actions are imperative for handing down the heritage to future generations and to avoid its loss. In this paper, the technical means for scientific quantification of the acoustical heritage are presented in the form of operative guidelines for acoustical measurements inside historical theatres. The document includes the advice of international experts and is being employed during an extended measurement campaign inside renaissance and baroque historical theatres. A relevant part of the paper deals with the experimental validation of the recommendations given in the guidelines, achieved by a dedicated test session inside the Municipal Theatre of Ferrara
Acoustics in the competition for the construction of the opera house `La Fenice': 1789-1790
No full textThe acoustic design of the La Fenice opera house in Venice is reviewed for its reconstruction after a fire hit the theater on January 1996. The theater was borne out of a competition held in 1789, which was open to both local and foreign architects. Records show that wood was considered as the most convenient material to obtain a resonant theater due to its elastic properties. While there was disagreement over the best shape of the opera, there is indication that the semicircular curve was preferred
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