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The aim of this study is to elucidate the relationship between 2 different types of severity-indicating parameters (i.e. between subjective and objective severity-indicating parametersin patients with atopic dermatitis. The disease severity of 55 patients with atopic dermatitis was assessed using 7 subjective parameters indicating severity, including visual analogue scale for itch, Patient-Oriented Eczema Measure, 5-D itch scale, Dermatology Life Quality Index, Eczema Area and Severity Index, body surface area, and Investigator Global Assessment, and 8 objective parameters indicating severity, including eosinophil relative count, neutrophil-to-lymphocyte ratio, lactate dehydrogenase, and thymus and activation-regulated chemokine. Five subjective parameters reflecting itch correlated significantly with eosinophil relative count, but not with neutrophil-to-lymphocyte ratio. In contrast, 2 subjective parameters, mainly reflecting the degree of inflammation and area of affected regions, correlated significantly with neutrophil-to-lymphocyte ratio. The eosinophil relative count may correlate with the degree of itch, while the neutrophil-to-lymphocyte ratio may correlate with the degree of inflammation and the area of the affected region. The eosinophil relative count and neutrophil-to-lymphocyte ratio may thus be stand-alone parameters from each other in the assessment of the severity of atopic dermatitis.

The purpose of the article is to offer a method of aesthetic evaluation of the acoustic properties of concert halls based on the subjective perception of the sound of musical material. The research methodology is based on the following methods: analytical is used to study the scientific literature; theoretical – to define special terminology, describe the phenomena that occur during research and parameters used for the subjective assessment; empirical – while listening to orchestras in a concert hall with subsequent expert evaluation of the results; comparative – to compare the results of research; methods of analysis and synthesis – to process the results of research, and also the interviewing method – to get information from musicians and active listeners. The scientific novelty of the article is an attempt to give an aesthetic assessment of the sound of the orchestras in the concert hall of the Solomiya Krushelnytska Lviv National Academic Opera and Ballet Theatre by studying the phenomenon of subjective perception of musical material. Conclusions. The study has demonstrated that the subjective assessment of the acoustics of concert halls requires the selection of evaluation criteria and the establishment of their relations with objective acoustic parameters. Subjective evaluation and objective parameters are correlated with each other and give a complete description of the sound of the orchestra in the concert hall. Subjective assessment of the acoustic quality of concert halls is fully confirmed by objective acoustic parameters. Its application can be considered justified. It has received a clear confirmation from the professional musicians. The verbal questioning among ordinary concert-goers has shown the onesidedness of their assessments. They vary between “good” and “excellent” and thus, are less accurate.

The purpose of the article is to offer a method of aesthetic evaluation of the acoustic properties of concert halls based on the subjective perception of the sound of musical material. The research methodology is based on the following methods: analytical is used to study the scientific literature; theoretical – to define special terminology, describe the phenomena that occur during research and parameters used for the subjective assessment; empirical – while listening to orchestras in a concert hall with subsequent expert evaluation of the results; comparative – to compare the results of research; methods of analysis and synthesis – to process the results of research, and also the interviewing method – to get information from musicians and active listeners. The scientific novelty of the article is an attempt to give an aesthetic assessment of the sound of the orchestras in the concert hall of the Solomiya Krushelnytska Lviv National Academic Opera and Ballet Theatre by studying the phenomenon of subjective perception of musical material. Conclusions. The study has demonstrated that the subjective assessment of the acoustics of concert halls requires the selection of evaluation criteria and the establishment of their relations with objective acoustic parameters. Subjective evaluation and objective parameters are correlated with each other and give a complete description of the sound of the orchestra in the concert hall. Subjective assessment of the acoustic quality of concert halls is fully confirmed by objective acoustic parameters. Its application can be considered justified. It has received a clear confirmation from the professional musicians. The verbal questioning among ordinary concert-goers has shown the onesidedness of their assessments. They vary between “good” and “excellent” and thus, are less accurate., Цель исследования заключается в том, чтобы предложить метод эстетической оценки акустических свойств концертных залов, основанный на субъективном восприятии звучания музыкального материала. Методологию исследования составляют следующие методы: аналитический – в изучении научной литературы; теоретический – для определения специальной терминологии, описания явлений, имеющих место при проведении исследований, параметров по которым осуществляется субъективная оценка; эмпирический – при прослушивании оркестров в концертном зале с последующей экспертной оценкой результатов; компаративный – в процессе сравнения результатов исследований; методы анализа и синтеза – для обработки результатов исследования, а также метод интервьюирования – для получения информации от музыкантов и активных слушателей. Научная новизна исследования заключается в попытке дать эстетическую оценку звучания оркестров вживую в концертном зале Львовского национального академического театра оперы и балета имени Соломии Крушельницкой путем исследования явления субъективного восприятия музыкального материала. Выводы. Выяснено, что субъективная оценка акустики концертных залов требует выбора критериев оценки и установления их связи с объективными акустическими параметрами. Субъективная оценка наряду с объективными параметрами коррелируются между собой, – поэтому дают полную характеристику звучанию оркестра в концертном зале. Субъективное оценивание акустического качества концертных залов подтверждается объективными акустическими параметрами. Применение его можно считать оправданным. Особенно точное подтверждение оно получило среди музыкантов специалистов. Устный опрос, проведенный среди любителей-непрофессионалов симфонической музыки, показал ограниченность их оценок. Они варьируются в пределах «хорошо» и «отлично», поэтому являются менее точными., Мета дослідження полягає в тому, щоб запропонувати метод естетичної оцінки акустичних властивостей концертних залів, заснований на суб’єктивному сприйнятті звучання музичного матеріалу. Методологію дослідження складають методи: аналітичний – у вивченні наукової літератури; теоретичний – для визначення спеціальної термінології, опису явищ, що мають місце під час проведення досліджень, параметрів за якими здійснюється суб’єктивна оцінка; емпіричний – при прослуховуванні оркестрів у концертному залі з подальшою експертною оцінкою результатів; компаративний – у процесі порівняння результатів досліджень; методи аналізу і синтезу – для опрацювання результатів дослідження, а також метод інтерв’ювання – для отримання інформації від музикантів та активних слухачів. Наукова новизна дослідження полягає у спробі дати естетичну оцінку звучання оркестрів на живо у концертному залі Львівського національного академічного театру опери та балету імені Соломії Крушельницької шляхом дослідження явища суб’єктивного сприйняття музичного матеріалу. Висновки. З’ясовано, що суб’єктивна оцінка акустики концертних залів вимагає вибору критеріїв оцінки та встановлення їхнього зв’язку з об’єктивними акустичними параметрами. Суб’єктивна оцінка разом з об’єктивними параметрами корелюються між собою, – тому дають повну характеристику звучанню оркестру в концертному залі. Суб’єктивне оцінювання акустичної якості концертних залів повністю підтверджується об’єктивними акустичними параметрами. Застосування його можна вважати виправданим. Особливо точне підтвердження воно отримало серед музикантів фахівців. Усне опитування, проведене серед любителів-непрофесіоналів симфонічної музики, показало однобічність їх оцінок. Вони варіюються в межах «добре» і «відмінно», тому є менш точними.

International audience; Since the students? learning process is affected by classroom acoustics, this work is based on a literature review aiming at identifying the acoustical parameters that have major influence on students? academic performances. The review strategy involved three different approaches and resulted in more than 30 selected papers, of which only a few provided information on the effects of the acoustics of the environment on learning. The indexes that turned out to have the greater influence on students' performance were therefore considered on the evaluation of acoustical quality in elementary school classrooms through in-field measurements. Noise, room acoustics and intelligibility indices in both occupied and unoccupied conditions of 29 first-grade classrooms belonging to 13 school buildings in Turin that differ in location and typology, were gathered in the study. Then, the relationships between objective parameters were assessed through statistical analysis in order to select the minimul required parameters needed to best characterize the acoustics of the classroom, also taking into account their recognized effect on learning. In addition to that, new important considerations useful for the creation of a simplified protocol that can be universally applied when performing acoustic measurements in classrooms emerged, so that comparisons across several environments can be performed.

Стаття присвячена способу естетичної оцінки акустики концертних залів на основі властивостей сприйняття музичного матеріалу слуховою системою людини. Для цього визначено набір вагомих критеріїв оцінки, таких як: просторовість, ширина, тембр, розбірливість, гучність та ін. Суб’єктивні критерії оцінки перебувають у тісному взаємозв’язку між собою та корелюються із об’єктивними акустичними параметрами концертних залів. Для виконання поставлених завдань здійснено вибір концертних залів та подано короткі відомості про них. Для естетичної оцінки підібрані музичні твори у виконанні камерного оркестру. Оцінювання звучання у вибраних залах проводилось серед звукорежисерів, композиторів, диригентів, музикантів, музичних критиків та відвідувачів концертів і вистав. Проведено систематизацію результатів опитування та дана порівняльна характеристика звучанню класичної музики у двох вибраних концертних залах.Мета дослідження – запропонувати спосіб естетичної оцінки акустичних властивостей концертних залів, який базується на суб’єктивному сприйнятті звучання музичного матеріалу.Методологію дослідження визначають методи: аналітичний – у вивченні наукової літератури; теоретичний – для визначення спеціальної термінології, опису явищ, що мають місце під час проведення досліджень, параметрів, за якими здійснюється суб’єктивна оцінка; емпіричний – при прослуховуванні оркестрів у концертних залах з подальшою експертною оцінкою результатів; компаративний – у процесі порівняння результатів досліджень; методи аналізу і синтезу – для опрацювання результатів дослідження, а також метод інтерв’ювання – для отримання інформації від музикантів та активних слухачів.Наукова новизна дослідження полягає у спробі порівняти звучання оркестрової музики в різних концертних залах за допомогою наукового дослідження суб’єктивного сприйняття музичного матеріалу.Висновки. Проаналізувавши результати оцінки, можна сказати, що звучання оркестрів в досліджуваних залах суттєво відрізняється між собою. Кожний концертний зал має свою індивідуальну та неповторну акустику. Тому це потрібно враховувати при виборі репертуару концертуючих колективів та плануванні концертів. Застосування механізму естетичної оцінки, який базується на суб’єктивному сприйнятті звучання музичного матеріалу дає позитивний результат, тому його застосування можна вважати виправданим., Статья посвящена способам эстетической оценки акустики концертных залов на основе свойств восприятия музыкального материала слуховой системой человека. Для этого определен набор весомых критериев оценки, таких как: пространственность, ширина, тембр, разборчивость, громкость и др. Субъективные критерии оценки находятся в тесной взаимосвязи между собой и коррелируют с объективными акустическими параметрами концертных залов. Для выполнения поставленных задач осуществлен выбор концертных залов и представлены краткие сведения о них. Для эстетической оценки подобраны музыкальные произведения в исполнении камерного оркестра. Оценивание звучания в выбранных залах проводилось среди звукорежиссеров, композиторов, дирижеров, музыкантов, музыкальных критиков и посетителей концертов и спектаклей. Проведена систематизация результатов опроса и дана сравнительная характеристика звучанию классической музыки в двух выбранных концертных залах.Цель исследования – предложить способ эстетической оценки акустических свойств концертных залов, основанный на субъективном восприятии звучания музыкального материала.Методологию исследования определяют методы: аналитический – в изучении научной литературы; теоретический – для определения специальной терминологии, описания явлений, имеющих место при проведении исследований, параметров, по которым осуществляется субъективная оценка; эмпирический – при прослушивании оркестров в концертных залах с последующей экспертной оценкой результатов; компаративный – в процессе сравнения результатов исследований; методы анализа и синтеза – для обработки результатов исследования, а также метод интервьюирования – для получения информации от музыкантов и активных слушателей.Научная новизна исследования заключается в попытке сравнить звучание оркестровой музыки в различных концертных залах с помощью научного исследования субъективного восприятия музыкального материала.Выводы. Проанализировав результаты оценки, можно сказать, что звучание оркестров в исследуемых залах существенно отличается между собой. Каждый концертный зал имеет свою индивидуальную и неповторимую акустику. Это нужно учитывать при выборе репертуара концертирующих коллективов и планировании концертов. Применение механизма эстетической оценки, основанного на субъективном восприятии звучания музыкального материала, дает положительный результат, поэтому его применение можно считать оправданным., This article is devoted to the method of aesthetic evaluation of the concert halls acoustics based on the properties of the perception of musical material by the human hearing system. For this purpose, a set of important evaluation criteria was defined: such as space, width, timbre, intelligibility, etc. Subjective evaluation criteria are closely interrelated and correlated with the objective acoustic parameters of concert halls. Concert halls were selected and brief information was provided to accomplish these tasks. For the aesthetic evaluation, the music pieces performed by the chamber orchestra were chosen. The assessment of sound in selected halls was conducted by sound engineers, composers, conductors, musicians, music critics and regular spectators of concerts and performances.The results of the survey were systematized and a comparative characteristic of classical music sounding in the two selected concert halls was given.The purpose of the research of the article is to offer a method of aesthetic evaluation of the acoustic properties of concert halls based on the subjective perception of the musical material sounding.The research methodology is determined by such methods as analytical – in the study of scientific literature; theoretical – to define specific terminology, to describe the phenomena that occur during the research and the parameters by which subjective assessment is done; empirical – when listening to orchestras in concert halls with a subsequent expert evaluation of the results; comparative – in the process of comparing research results; methods of analysis and synthesis – to process research results, and interviewing methods – to obtain information from musicians and active listeners.The scientific novelty of the research. It is made an attempt to compare the sound of orchestral music in different concert halls with the help of scientific study of subjective perception of musical material.Conclusions. Analyzing the results of the evaluation, we can say that the sound of the orchestras in the examined halls is significantly different. Each concert hall has its own individual and unique acoustics. Therefore, this should be taken into account when choosing a repertoire of concert groups and planning concerts. The application of aesthetic evaluation mechanism based on the subjective perception of the musical material sounding gives a positive result, so its use can be considered justified.

This article is devoted to the method of aesthetic evaluation of the concert halls acoustics based on the properties of the perception of musical material by the human hearing system. For this purpose, a set of important evaluation criteria was defined: such as space, width, timbre, intelligibility, etc. Subjective evaluation criteria are closely interrelated and correlated with the objective acoustic parameters of concert halls. Concert halls were selected and brief information was provided to accomplish these tasks. For the aesthetic evaluation, the music pieces performed by the chamber orchestra were chosen. The assessment of sound in selected halls was conducted by sound engineers, composers, conductors, musicians, music critics and regular spectators of concerts and performances.The results of the survey were systematized and a comparative characteristic of classical music sounding in the two selected concert halls was given. The purpose of the researchof the article is to offer a method of aesthetic evaluation of the acoustic properties of concert halls based on the subjective perception of the musical material sounding. The research methodologyis determined by such methods as analytical – in the study of scientific literature; theoretical – to define specific terminology, to describe the phenomena that occur during the research and the parameters by which subjective assessment is done; empirical – when listening to orchestras in concert halls with a subsequent expert evaluation of the results; comparative – in the process of comparing research results; methods of analysis and synthesis – to process research results, and interviewing methods – to obtain information from musicians and active listeners. The scientific novelty of the research. It is made an attempt to compare the sound of orchestral music in different concert halls with the help of scientific study of subjective perception of musical material. Conclusions. Analyzing the results of the evaluation, we can say that the sound of the orchestras in the examined halls is significantly different. Each concert hall has its own individual and unique acoustics. Therefore, this should be taken into account when choosing a repertoire of concert groups and planning concerts. The application of aesthetic evaluation mechanism based on the subjective perception of the musical material sounding gives a positive result, so its use can be considered justified.

This paper presents the results of preliminary tests of the QoE4VR (Quality of Experience for Virtual Reality Applications) project, funded by the University of Zagreb. The project is aimed at achieving the better understanding of the relationship between different objective and subjective parameters that may affect user Quality of Experience when using different VR applications. We conducted the initial experiment with 10 test subjects who played racing game Project Cars in VR environment. The paper discusses the impact of subjective parameters, such as fear and discomfort of our test subjects, on the achieved level of QoE in the game. The results show how even high levels of discomfort were not negatively reflected on a user experience. Additionally, the paper reports on user misperception of time after being immersed into VR.

Performance spaces are characterized by a complex sound field, due to the presence of absorptive and diffusive surfaces. In situ evaluations of the acoustic effects that these surfaces have on the objective acoustic parameters and on sound perception have not yet been fully understood. To this aim, acoustic measurements have been performed in a variable-acoustic concert hall, the Espace de Projection, at the Institut de Recherche et Coordination Acoustique/Musique. These measurements have allowed the effects of one single wall to be determined. A diffusive and a reflective condition of one of the long lateral walls of the shoebox-like hall have been considered, while the other surfaces have been fixed in absorptive mode. Measurements have been carried out at different distances from the test wall, using an artificial head and an array of omnidirectional microphones. Objective acoustic parameters, such as early decay time, reverberation time (T30), clarity (C80), definition (D50), and interaural cross correlation, have been compared between both conditions. In addition to the objective indexes, a perceptual evaluation has been performed using listening tests that had the purpose of determining the maximum distance from a diffusive surface at which acoustic scattering effects are still audible.

Specialist bibliographies reveal that there are many parameters for fully describing the acoustics of a hall. Are all of these parameters absolutely necessary? Although hall acoustics is a complex discipline, we can nevertheless see that many parameters measure aspects that are very similar to musical perception. Our aim in this paper is to use factor analysis to find a small number of statistically independent parameters that will enable musical performance halls to be characterised using just a few parameters. At the same time, we aim to identify other parameters that will be useful to researchers as part of a lineal combination. To achieve this, we have measured impulse responses in 17 halls and determined the most common 18 parameters. By using factor analysis, we have identified the three key factors that satisfy the required characteristics. This result confirms those obtained in an earlier study [1] of nine halls. The factors obtained strongly correlate with other classic parameters. Factor 1 correlates with reverberation time; Factor 2 correlates with the objective parameters for the impression of space; and Factor 3 correlates with parameters of strength. This last factor also correlates strongly with objective parameters for listener envelopment (LEV) [2], The translation of this paper was funded by the Universidad Politecnica de Valencia, Spain.

U diplomskom radu obrazložena su osnovna svojstva zvuka, građa violine te način na koji violina vrši pretvorbu energije i reproducira zvuk. Također, navedene su tehnike sviranja i osnovne akustičke kvalitete violine. U drugom dijelu opisano je mjerenje objektivnih i subjektivnih parametara. Predstavljeni su i opisani rezultati istraživanja te je provedena analiza korelacije između tih parametara. Ispitivanje je provedeno na 7 različitih violina i određeni su bitni akustički parametri kao što je spektar zvuka, usmjerenost u slobodnom polju te dinamički raspon violina. In the course of my thesis, elementary characteristics of sound, the structure of a violin and the way a violin performs energy conversion and reproduces sound were explained. Also, techniques of playing and basic acoustic qualities of a violin were stated. In the second part a measurement of objective and subjective parameters was described. Results of research were introduced and described and an analysis of the correlation between these parameters was carried out. The test was conducted on 7 different violins and important acoustic parameters like range of sound, polar characteristic in the free field and dynamic range of the violins was determined.

Opisan je postupak mjerenja akustičke kvalitete u tonskim režijama, s ciljem utvrđivanja postavki koje daju najtočnije rezultate. Napravljena su mjerenja impulsnih odziva šest tonskih režija. Mjerenja su obavljena sukladno normi ISO3382. U svim tonskim režijama je upotrijebljena ista metoda, ali su mijenjani uvjeti mjerenja. U prvom slučaju korišteni su ugrađeni monitorski zvučnici. U drugom slučaju je korišten neusmjereni zvučni izvor. Neusmjereni mikrofon i umjetna glava su korišteni kao prijemnici. Oni su smješteni na optimalno mjesto za slušanje. Analiza glavnih komponenata je korištena za određivanje najtočnijih rezultata dobivenih uz različite uvjete mjerenja. Na taj način su dobiveni uvjeti mjerenja koji najbolje odgovaraju vrijednostima subjektivnih ocjena tonskih režija. Ti rezultati će biti korišteni za računanje korelacije između izmjerenih objektivnih i ocijenjenih subjektivnih parametara., Measuring process of acoustic quality parameters in sound control room in order to determine the best setup is described. Measurements of six sound control rooms impulse response have been made. The measurements are executed in accordance with the standard ISO3382. In all sound control rooms the same measurement method is used, but the measurement setups are changed. In the first scenario built-in monitor loudspeakers were used. In the second scenario, omnidirectional sound source was used. Omnidirectional measuring microphone and an artificial head were used as receivers. They were placed at the optimal listening position. Principal components analysis method is used to get the most accurate result from measured data obtained under different scenarios and measuring setups. Hence, the measuring conditions and setups which determine the value of subjective assessments of the sound control room are obtained. The results shall be used to calculate correlation between objective measurements and subjective assessments.

Task variation has been proposed to reduce shoulder fatigue resulting from repetitive hand-arm tasks. This review analyses the effect of task variation, both 'temporal (i.e. change of work-rest ratio)' and 'activity (i.e. job rotation)' variation, on physiological responses, endurance time (ET) and subjective feelings. Pubmed was searched and complemented with references from selected articles, resulting in 17 articles. Temporal variation had some positive effects on the objective parameters, as blood pressure decreased and ET increased, and on the subjective feelings, as perceived discomfort decreased. The observed findings of activity variation showed both positive and negative effects of increased activity variation, while hardly any effects were found on electromyography manifestations of fatigue. In conclusion, the evidence for positive effects of increasing the level of variation is scarce. The number of studies on variation is limited, while in most studies the findings were not controlled for the amount or intensity of work. Practitioner Summary: Some laboratory-controlled studies showed some positive effects of increasing temporal variation, providing limited support for introducing frequent interruptions in work. Activity variation showed ambiguous effects, meaning there is no evidence for practical implication. In practice, however, other positive effects of activity variation may occur, for example job enrichment and increased motivation. © 2014 © 2014 Taylor & Francis.

This paper presents the research results obtained by measuring and assessment of professional sound control room. In this process all the features that these rooms have are taken into consideration and that is the fact that here the sound is reproduced through high quality professional equipment, and that listening area is only a small, exactly given place for optimal listening. The optimal sound control room must give completely clear perception of reproduced sound with all features, and the space as itself may not enter or change the characteristics of the reproduced sound. Also, the acoustic characteristics of the original recording room should be unchanged. This is obtained by creating very high quality sound control room, which includes designing, implementing and ultimately control measuring and testing. Statistical Conjoint Analisys methods (CA) is statistical tool that shows which of the real, objective parameters of a test system has the greatest impact on the final subjective assessment or on the subjective decision of the respondents to the assessment of the system quality. In this work, a Conjoint Analisys method is used to obtain estimates of the impact of objective parameters of acoustic quality of the room on the subjective assessment of the reverberation time of the professional sound control room. Thereby, the use of modern statistical method (CA) shows dependence of one subjective parameter on more objective parameters, which is much closer to the real situation. Realistically, all ratings are subject to some extent dependence on more objective parameters.

Task variation has been proposed to reduce shoulder fatigue resulting from repetitive hand-arm tasks. This review analyses the effect of task variation, both 'temporal (i.e. change of work-rest ratio)' and 'activity (i.e. job rotation)' variation, on physiological responses, endurance time (ET) and subjective feelings. Pubmed was searched and complemented with references from selected articles, resulting in 17 articles. Temporal variation had some positive effects on the objective parameters, as blood pressure decreased and ET increased, and on the subjective feelings, as perceived discomfort decreased. The observed findings of activity variation showed both positive and negative effects of increased activity variation, while hardly any effects were found on electromyography manifestations of fatigue. In conclusion, the evidence for positive effects of increasing the level of variation is scarce. The number of studies on variation is limited, while in most studies the findings were not controlled for the amount or intensity of work. Practitioner Summary: Some laboratory-controlled studies showed some positive effects of increasing temporal variation, providing limited support for introducing frequent interruptions in work. Activity variation showed ambiguous effects, meaning there is no evidence for practical implication. In practice, however, other positive effects of activity variation may occur, for example job enrichment and increased motivation. © 2014 © 2014 Taylor & Francis.

Doktorski rad „Optimiranje akustičke kvalitete profesionalnoga prostora za slušanje“ rezultat je istraživanja akustičkih svojstava profesionalnih prostora za slušanje. Utvrđene su posebnosti tih prostora koje karakterizira vrlo velika važnost kvalitete zvuka u svrhu njegove obrade, pri čemu oni moraju biti akustički tako projektirani da vrijednosti svih njihovih parametara akustičke kvalitete imaju optimalne vrijednosti potrebne za postizanje najbolje moguće kvalitete slušanja. Izmjereni su realni profesionalni prostori za slušanje, i nakon toga je napravljena detaljna statistička analiza izmjerenih vrijednosti parametra, kao i rezultata subjektivnih ispitivanja, i to primjenom statističke metode analize glavnih komponenata i statističke metode združene analize parametara. Tim metodama utvrđeni su uvjeti mjerenja pod kojima se dobivaju najtočniji rezultati mjerenja, koji će u najvećoj mjeri korelirati sa subjektivnim ocjenama istih tih prostora. Matematičkom metodom združenih parametara određeni su koeficijenti utjecaja objektivnih parametara akustičke kvalitete na subjektivnu ocjenu. Nakon toga je napravljen matematički model funkcijske ovisnosti primjenom polinomne i racionalne funkcije koja prikazuje frekvencijsku ovisnost objektivnih parametara za uvjet postizanja optimalne kvalitete slušanja. U konačnici, izveden je i geometrijski model optimalnog prostora za slušanje, koji služi kao osnova za izradu računalnih simulacija u kojima su namjerno, na kontrolirani način mijenjani neki akustički uvjeti, i utvrđene su granice promjene tih određenih parametara akustičke kvalitete kod kojih dolazi do subjektivnih zamjećivanja promjene u kvaliteti slušanja. Ph. D. thesis entitled "Optimizing acoustical quality of sound control room" is the result of the study of acoustic properties of professional sound control rooms. The specificities of these rooms which are characterized by very high importance to have the high quality of sound for the purpose of its processing are determined. They must be acoustically designed so that the values of their acoustical quality parameters have optimal values necessary to achieve the best possible listening quality. The real sound control rooms were measured, and a detailed mathematical analysis of the measured parameter values was done, as well as the analysis of subjective tests results. This analysis was done applying the statistical method “Principal Components Analysis” (PCA) and statistical method “Conjoint Analysis” (CA). With those methods measuring conditions under which they receive the most accurate measurement results are defined, and which will have the best possible correlation with subjective evaluations of the same rooms. The mathematical model of functional dependency by using polynomial and rational functions was made. This model shows the frequency dependence of objective parameters provided to achieve the optimum listening quality. Finally, the geometric model of optimal sound control room is defined. Also, the values are defined, within which certain parameters has the just noticeable value change. In the introductory chapter an overview of types of professional sound control rooms, their basic characteristics and problems, and their basic design principles are given. In the second chapter an overview of measurement methods and measuring conditions defined for the purposes of research are given. Also, the objective room acoustic parameters which were considered are described, as well as the method of subjective acoustical quality test. The test conditions are defined and subjective acoustical quality parameters that were considered in the thesis are provided and described. In the third chapter an analysis of objective acoustical quality parameters for professional sound control rooms is given. Structural parameters (dimensions and volume) of professional sound control rooms are shown, as well as the results of statistical analisys of the objective acoustical quality parameters. A statistical analisys with the method of principal components analysis (PCA) of measurement results in different conditions was made. In the fourth chapter the subjective parameters of acoustical quality of professional sound control rooms were analyzed. An algorithm for evaluating the acoustical quality of the room with respect to each subjective parameter of acoustical quality of the room is presented. The impact of a certain objective parameters of acoustic qualities of the room on the parameters of a subjective evaluation of acoustic quality is assessed. In the fifth chapter mathematical model of optimal sound control room is designed. The functional frequency dependence of objective parameters of acoustic quality of the room is determined, where the condition is to achieve the best subjective assessments. The functional dependence is determined by polynomial and rational functions. The geometric model used in computer simulation is also designed. In the sixth chapter a computer simulation of sound control room is presented. In the simulation some parameters of acoustical quality are changed, and the values where the change is just noticeable are determined. In the seventh chapter, "Conclusion", all the results of research done in this Ph. D. thesis are summarized. In this way, the whole objective measurements and subjective assessments of acoustical quality of professional sound control room are completely covered. The mathematic and geometric models for computer simulation are made. Those models and simulations of acoustic properties provide a full image of the problem, and allow us to propose the solutions for the problems of acoustical design of professional sound control rooms. The complex dependencies of the results of the objective measurements and subjective assessments of acoustic quality is shown, as well as the complexity of the optimization process of acoustic parameters in order to achieve the acoustically optimal sound control room.

El present proyecte tracta de la realització de una proposta en la que es vol millorar el acondicionament acústic del auditori “Joaquín Rodrigo”. En el proyecte se prendrán valors reials del comportament acústic de la sala, realitzant un estudi en profunditat de estes dades a través de una serie de parámetros objectius y sensacions subjectives aportades per el recinte. Posteriorment se marcarán els objectius tenint en compte les recomendacions donades per als diferents parámetros que definixen el comportament acústic de la sala. Es fa una selecció de solucions que poden millorar les nececitats de la sala i per últim estes se simula el recinte, justificant en el valors y en una serie de raonaments que la proposta ha elevat la calitat acústica del auditori., El presente proyecto trata de la realización de una propuesta en la que se pretende mejorar el acondicionamiento acústico del auditorio Joaquín Rodrigo. En él se tomaran datos reales del comportamiento acústico de la sala, realizando un estudio en profundidad de estos mediante una serie de parámetros objetivos y de sensaciones subjetivas aportadas por el recinto. En dicho estudio que se observarán las necesidades a cubrir. Posteriormente se marcarán unos objetivos teniendo en cuenta las recomendaciones marcadas para los diferentes parámetros que definen el comportamiento acústico de la sala. Con el conocimiento obtenido se realiza una preselección de materiales que ubicados en los lugares oportunos, se piensa que serán capaces de satisfacer la diversidad de necesidades acústicas existentes en el auditorio. Por último se realiza una simulación en la que mostrando los valores obtenidos y utilizando una serie de justificaciones, se demuestra que este proyecto ha sido capaz de dar una solución a los problemas de acondicionamiento acústico que actualmente se pueden encontrar en la sala., This project is about the realization of a proposal that aims to improve the acoustic conditioning of ‘Joaquín Rodrigo Auditorium’. We are going to collect real data on the acoustic performance of the room, making a thorough study of them through a series of objective parameters and subjective sensations provided by the enclosure. The study intends to find out the needs to be covered. Afterwards, objectives will be set taking into account the recommendations marked for the different parameters defining the acoustic performance of the room. With the knowledge we obtain, we are going to preselect the materials which will be used at the right places and they are thought to be able to meet the diversity of acoustic needs in the auditorium. Finally, we are going to present a simulation that is going to show that the obtained values and a series of justifications prove that this project has been able to provide a solution to the problems of acoustic

The development of computer software and other technologies greatly facilitates the evaluation of pathological voice patients. This fact allows to reduce exploration time, improves the reproducibility of results and creates the possibility of test protocol standardization needed for the intercommunication between the different voice specialists. The proposed application encompasses the most important aspects which should be taken into account regarding dysphonic patients. It is a multidimensional scope which involves subjective questionnaires and perceptual, aerodynamic, acoustic and stroboscopic evaluations. In this system, the authors have designed and created simple tools for recording and automatic acoustic analysis for the acquisition and edition of stroboscopic images. The purpose is to work with all necessary tools running on a single application, without having to export and import data from other computer programs. Therefore, the objective is to synthetize the basic voice and the exploration of the vocal folds, simplifying it through the design of a program which helps us to analyze step-by-step each aspect of the vocal pathology. The evaluation of the tool has been performed by the otolaryngologists through periodical (medical) appointments on 25 patients for one year a year, and the results are promising either for the professionals as well as for the patients which receive a detailed report with the objective information concerning the features of their voice and vocal cords.

Ova disertacija opisuje istraživanje akustike sakralnih prostora sa ciljem određivanja njihove akustičke kvalitete. Provedena su mjerenja objektivnih akustičkih parametara RT, EDT, C80, D50, TS i IACC, ispitivanja subjektivnih akustičkih parametara Odječnost prostora, Glasnoća, Intimnost, Čistoća, Zaokruženost, Tonski balans i Ukupni dojam, te mjerenja osnovnih arhitektonskih parametara sakralnih prostora obuhvaćenih istraživanjem. Korelacijom objektivnih i subjektivnih parametara utvrđena je međuovisnost i visok stupanj korelacije između objektivnih parametara RT, EDT, C80, D50 i subjektivnih parametara Intimnost, Čistoća, Tonski balans i Ukupni dojam. Predloženi su novi objektivni parametri specifičnog vremena odjeka RTS i specifičnog vremena ranog opadanja EDTS koji pokazuju višu korelaciju sa subjektivnim parametrima nego klasični objektivni parametri RT i EDT. Vrlo visoke korelacije i verificirani linearni regresijski modeli ostvareni sa subjektivnim parametrom Ukupni dojam omogućili su definiranje metode vrednovanja objektivnih akustičkih parametara sakralnih prostora. Predložene su četiri kategorije akustičke kvalitete sakralnih prostora koje se procjenjuju na osnovu ocjena subjektivnog parametra Ukupni dojam. Poznavanjem vrijednosti objektivnih akustičkih parametara, bilo izmjerenih ili proračunatih, moguće je ocijeniti subjektivnu akustičku kvalitetu izgrađenih sakralnih prostora bez potrebe za provođenjem ispitivanja subjektivnih parametara odnosno u fazi projektiranja procijeniti subjektivnu akustičku kvalitetu novih sakralnih prostora. The dissertation describes the research into the acoustics of sacral spaces whose aim was to determine their acoustic qualities. The measurements of objective parameters RT, EDT, C80, D50, TS and IACC were carried out, followed by listening tests in order to rate the subjective parameters Reverberance, Loudness, Intimacy, Clarity, Balance and Overall Acoustic Impression. Also the basic architectural parameters were measured in all the churches included in this research. Through the correlation of objective and subjective parameters significant dependence and high correlation coefficients were determined between objective parameters RT, EDT, D50 and C80 and subjective parameters Intimacy, Clarity, Balance and Overall Impression. Two new objective parameters were proposed for the evaluation of acoustic properties – the specific RT (denoted as RTS) and specific EDT (denoted as EDTS). Both specific parameters show higher correlation coefficients with subjective parameters than the regular RT and EDT. Very significant correlation and verified linear regression models between objective parameters RTS, EDTS and C80 and subjective parameter Overall Impression have led to defining a method of evaluation of objective acoustic parameters of sacral spaces. Four categories of acoustic quality of sacral spaces are proposed based on the rating of the subjective parameter Overall Impression. This model enables us to assess the subjective acoustic quality of churches without the need to perform the listening tests, which is useful both in assessing the acoustic quality of existing churches and in the design of new sacral spaces.

The colours of the voice - voice and emotion. Is your voice fuchsia or green? It seems a strange question. VOX, the voice database of the VRT (Flemish Radio and Television) has high qualified voices and is always in search for more perfect "media" voices. In order to organize this VOX database several colours are used to categorize every voice. Every single voice was asked to read the same text. Five persons with media experience gave every voice a certain colour in accordance with previously determined characteristics or emotions.. A green voice stands for active and vivid, a black voice represents intelligence and power, a blue voice sounds business-wise and practical,... After this work we wondered if the colour definitions could be supported by objective characteristics. What makes a green voice sound vivid and active and a black voice mature and intelligent? Can we objectify the colour types that are perceptually defined? We extracted the parameters mean frequency, pitch range, mean loudnessand loudness range from several voices. This first investigation revealed several interesting results. The 'green' males seem to have higher voices than 'red' males, whereas female voices differ less in pitch whatever colour they represent. The use of stress is higher in males than in females. Green and blue women speak louder, whereas blue males are the loudest. Also prosodic characteristics differ a lot between the different colors. Further research is necessary to define more parameters to describe a voice type and quality.

The purpose of this paper is to give an evaluation of subjective and objective acoustic parameters in two architecturally different churches in Zagreb, Croatia. These churches have completely different architectural parameters due to different style, shape and volume. The influence of high vaulted ceiling in one church is compared to the lower flat ceiling of the other. The influence of large high ceiling lateral aisles and the lateral galleries to both binaural and monaural parameters is examined. Subjective parameters such as Intimacy, Clarity, Reverberation, Spatial and Overall impression are compared to measured objective parameters. The comparison of obtained values, both subjective and objective, is done in order to get the degree of the correlation between them.

The measurements of acoustical parameters were carried out in several churches in Zagreb, Croatia. The selected churches differ in style, shape, volume and interior design. The idea was to evaluate the acoustic quality of different listening positions and suggest why are certain listening position better appreciated. Through the analysis of obtained data different groups of receiver locations in main listening area and lateral chapels were compared. Two source positions were used, one at the altar and the other at the organ. Objective parameters EDT, RT, C80, D50 and IACC were measured and evaluated as well as the different architectural parameters of the selected churched. The final results and the conclusions stated in this paper present a contribution to answering which positions and position groups are provided with better acoustic quality.

This paper presents the results of the measurements of objective parameters carried out in several churches in Zagreb (Croatia). The principal goal was to evaluate acoustic and architectural parameters of sacral buildings that differ in shape, style and interior design. Two source positions and at least ten receiver positions were used in each church. An analysis of the data acquired by using both monaural and binaural parameters according to ISO 3382 has provided a description of the acoustic properties of the examined churches. The results and the conclusions stated in this paper represent the first acoustic evaluation of churches in Croatia and present a contribution to similar projects in church acoustics that have been carried out in other countries.

U radu je obrađena ocjena kvalitete zvuka s osobitim osvrtom na dizajn zvuka u ciklusu dizajna proizvoda. Dane su fizikalne osnove zvuka. Putem psihoakustičnog vrednovanja kvalitete zvuka izvedene su osnovne značajke za vrednovanje kvalitete zvuka. Obrađene su linearne i frekvencijske promjene signala u zatvorenom prostoru. U sklopu psihoakustičnih značajki vrednovanja kvalitete zvuka pokazan je izračun zvučne apsorpcije visećeg stropa s osvrtom na rezonantni značaj apsorpcije. Analiziran je proces procjene kvalitete zvuka U sklopu psihoakustičnog vrednovanja kvalitete zvuka dan je prijedlog inženjerskog rješenja problema. Uveden je pojam kvalitete zvuka kao psihološke teme. Dane su psihološke metode vrednovanja kvalitete zvuka kao i usporedba s fizikalnim kriterijima vrednovanja. Opisan je postupak vrednovanja zvuka u ciklusu proizvodnje. Analizirani su instrumenti za vrednovanje kvalitete zvuka kao i adekvatni mjerni postupci. Analizirana je kvaliteta zvuka konkretnog proizvoda - automobila pokusnom analizom. Promatrani su primjeri dizajna zvuka pojedinih komponenti automobila u praksi. Proučena je primjena indeksa smetnje u svrhu poboljšanja kvalitete zvuka motora. Razmatrana je kvaliteta zvuka proizvoda u cjelini. Na osnovi svih izvedenih analiza na kraju su dane smjernice za primjenu dizajna kvalitete zvuka u izradi novih proizvoda The paper deals with the sound quality problem with an emphasis on the sound design within a product design process. Physical properties of sound are introduced. By means of psychoacoustic evaluation of sound quality, basic characteristics for sound evaluation are provided. Both linear and frequency signal changes in a closed area are discussed. Within the process of psychoacoustic sound quality evaluation, computation of suspended ceiling sound absorption is presented, taking into account resonant character of absorption. Sound quality evaluation process is analyzed. An engineer solution to the problem has been proposed regarding the psychoacoustic evaluation of sound quality. A concept of sound quality as a psychological topic is introduced. Psychological methods of sound quality evaluation are given as well as their comparison with physical evaluation criteria. Sound evaluation procedure in a production process is described. Instruments for sound quality evaluation and corresponding measuring procedures are analyzed. Sound quality of a real product – car is analyzed by experimental analysis. Sound design examples of car components have been observed in practice. An application of the annoyance index to the engine sound quality has been studied. The total product sound quality is discussed. On the basis of all performed analyses in this work, some directions are given for the application of sound quality design in new products engineering.

U radnji su analizirani objektivni parametri akustičke kvalitete prostora, njihove definicije kao i optimalne vrijednosti vezane za namjenu prostora prema preporučenim vrijednostima raznih autora. Na osnovi toga utvrđena je odgovarajuća korelacija sa subjektivnim parametrima. Razrađeni su subjektivni parametri akustičke kvalitete prostora, te njihove definicije s obzirom na psihoakustičku percepciju zvuka u prostoriji. Načinjen je pregled važnijih istraživanja objektivnih i subjektivnih parametara akustičke kvalitete prostora, te analiza o stupnju postignute korelacije između objektivnih i subjektivnih parametara raznih istraživača u vrednovanju akustičke kvalitete prostora. Predložena je metoda vrednovanja akustičke kvalitete prostora, definirani su zahtjevi za mjerne i ispitne signale, te ispitni elektroakustički sustav, kao i mjerni postupak. Na osnovi definicija i analize objektivnih i subjektivnih parametara provedena je odgovarajuća redukcija kako bi se na taj način povećala efikasnost i pojednostavilo ispitivanje i ocjenjivanje parametara akustičke kvalitete uz određena i prihvatljiva odstupanja od predloženih optimalnih vrijednosti. Primijenjen je mjerni postupak dobivanja energetsko-vremenskih krivulja - ETC s pomoću spektrometrije s vremenskim pomakom - TDS impelmentirane na vremensko-energetskom analizatoru - TEF-u i odabrani su objektivni parametri vremena odjeka i vremena ranog opadanja zvučne energije - EDT kao mjera tijeka energije u vremenu i jasnoća – C, definiranost - D i odnos reflektirane i direktne energije - R kao odnosi reflektirane, direktne i ukupne energije. Postavljeni su međusobni odnosi, tako da se na osnovi mjerenja samo jednog energetskog parametra omogući procjena ostalih. Uz to su analizirane mogućnosti primjene i drugih ispitnih signala. Na osnovi mjerenja u dva arhitektonskograđevinski indentična, ali prema akustičkim svojstvima različita prostora, te dodatne analize i proračune vezane za ispunjenost dvorane vrednovani su objektivni parametri prema prije usvojenim optimalnim uvjetima uz određenu toleranciju. Za subjektivna ispitivanja odabrane su karakteristične glazbene i govorne ispitne sekvence. S pomoću razrađenog i predloženog sustava vrednovanja subjektivnih parametara provedena su ispitivanja sa 77 ispitanika u oba prostora. Rezultati ocjenjivanja objektivnih parametra i ispitivanja subjektivnih parametara u oba akustički različita prostora pokazali su dobru podudarnost i dobru korelaciju između subjektivnih i objektivnih parametara akustičke kvalitete prostora, što ukazuje na mogućnost uspješne primjene predložene metode. Taj postupak može imati korisnu primjenu pri projektiranju i izvedbi akustički obrađenih prostora. In this work objective parameters of acoustic quality of a room are analyzed, their definitions as well as optimal values related to a role the room has according to values as recommended by different authors. Also subjective parameters of acoustic quality of a room are analyzed, and their definitions taking into consideration psychoacoustic perception of sound in a room. Overview of the important researches on objective and subjective parameters of acoustic quality of a room is made, and analysis on degree of achieved correlation between objective and subjective parameters as set by different scientists regarding evaluation of acoustic quality of a room. Method of evaluating acoustic quality of a room is suggested, requests regarding measurement and probing signals are defined, also probing electroacoustical system, as well as measuring procedure. Based on definitions and analysis of the objective and subjective parameters, corresponding reduction is undertaken in order to increase efficiency and simplify probing and grading of acoustic quality parameters involving specific and acceptable deviations from suggested optimal values. Measuring procedure of achieving energy-time curves-ETC is applied supported by time delay spectrometry - TDS, which is implemented on temporal-energy analyzer-TEF and objective parameters of echo and early decrease time of tone are chosen as a degree of energy flow in time and clarity - C, definition - D and ratio between reflected and direct energy- R as ratio between reflected, direct and total energy. Inter-relations are set in order to enable estimation of other parameters based on measurement of only one energy parameter. Also possibilities of applying other probing signals are analyzed. Based on measurements in two architectury identical, but according to acoustic characteristics two different rooms, and additional analysis and calculations connected with number of people in a hall, objective parameters are evaluated according to earlier adopted optimal conditions involving certain deviations from the values. For the purpose of subjective probing specific musical and speech sequences are chosen. Supported by developed and suggested evaluation system of subjective parameters probing is done with 77 persons in both rooms. Results of grading the objective parameters and probing subjective parameters in both acoustically different rooms have shown good matching characteristics and good correlation between subjective and objective parameters of acoustic quality of the room, which points to a successful application of the suggested method. This procedure could be usefully applied in construction and building of acoustically defined rooms.