1. Define Acoustics and important personalities who paved way to the development of acoustics.

Acoustics is the branch of physics concerned with the study of sound. It is concerned with the
production, control, transmission, reception, and effects of sound. Its origins began with the study of
mechanical vibrations and the radiation of these vibrations through mechanical waves, and still
continues today. The origin of the science of acoustics is generally attributed to the Greek philosopher
Pythagoras who studied vibrating strings that led to a tuning system.

Aristotle (4th century BC) - correctly suggested that a sound wave propagates in air through motion of
the air.

Vitruvius - determined the correct mechanism for the transmission of sound waves, and he contributed
substantially to the acoustic design of theatres.

Boethius (6th century AD) - related science to music, the human perception of pitch is related to the
physical property of frequency.

Galileo Galilei (1564–1642)- study of vibrations and the correlation between pitch and frequency of the
sound source.

Marin Mersenne - studied the vibration of stretched strings which led to Mersenne’s Harmonicorum

Libri Robert Hooke- first produced a sound wave of known frequency, using a rotating cog wheel as a
measuring device.

Joseph Sauveur -provided acoustic terms used to this day and first suggested the name acoustics for the
study of sound.

2. Sound Theory; All acoustics situation have three common elements: Source, Transmission
path, and receiver. (Conduct research also on sound-audible signal, sound pressure levels-
waves (Different Frequencies expressed in Hertz),etc.)

3. How we hear. The hearing mechanism. It can be divided into three parts: external ear, the
middle

ear, and the inner ear. Provide the detailed cross section of the anatomy of the ear.
Figure (number) shows the cross section of the middle and Figure (number) shows the sound transmission pathway in
inner ear. the ear.

4. Center of frequencies of octave bands.

5. Sound Absorption, Reflection of Sound, Reverberation/ Reverberation Time (RT), Ray Diagram
and
Sound Paths, Focusing, Creep. Provide the formulas and tables or charts for these topics,
illustrations. Better if you could research sample problems and accompanied by solutions to
explain their applications.

Reflection of sound:
Reverberation time: RT = 0.049 Volume/ As
Ray Diagram:
Sound Path:
Focusing:
Creep:

6. Acoustical Materials. And its Coefficient of Sound Absorption - Coefficient of Utilization (Cu).
Also
 provide table for the different sound absorption properties of the different materials which is
very
useful in determining the Reverberation Time in the interior of buildings (room).

Acoustical plaster and sprayed – on materials

Acoustical Plaster and Sprayed - On materials. these materials comprise plastic and porous
materials applied with a trowel; and fibrous materials. combined with binder agents, which are
applied with (sprayed on) an air gun of blower. The absorptivity of such material as acoustical
plaster is dependent on its thickness and composition and on the manner in which it i? applied
and dried. As the thickness is increased, the absorptivity increases, particularly at low
frequencies

7. Planning for good acoustics. Design of Room Shape, Cross Section of Auditoriums, Ceiling
Design, Etc. Provide illustrations and description of the topics.

Factors that influence the acoustical design include audience size, range of performance activities,
sophistication of the potential audience, and the caliber of performance production and audience
expectations are important design considerations. Acoustical design of an auditorium includes room
acoustics, noise control, and sound system design.

Shape:

Circular and elliptically shaped floor plans nearly always give rise to focusing effects, non-uniform
distribution pf sound, and echoes. Two prominent defects are illustrated in the two figures (a) and (b)
below. In the circular plan fig. b sound originating at s and directed at nearly grazing incidence to the
walls, as in the direction SA, tends to creep along the side of the wall.
Ceiling:

The ceiling and walls should provide favorable reflections of sound, especially for the seats far removed
from the stage. In general, the ceiling height of a room to be used for speech and music should be about
one third to two thirds of the width of the room - the lower ratio for every large room, and the higher
ratio for small rooms.

Example: find the ceiling height A large room 33m.

wide x 50 m. long use lower ratio 1/3 (33) =11 meters.

A small room 6.00 x 8.00 m. use higher ratio 2/3 (6.00) =4.00 meters

If the ceiling of an auditorium is too high, not only will the volume per seat be excessive, but also long-
delayed reflections from this surface will be a source of echoes. (studio design can have higher ceiling
heights). Ceiling splays in the front of a room, or appropriately tilted portions of the ceiling can be
devised to reinforce the sound reaching the rear parts of an auditorium.

Figure (num) shows an acoustical study of a longitudinal section of a theater in which the ceiling
surfaces have been designed to reinforce sound by reflection. The overhang of the
balcony is short, and the opening under the balcony Is high; therefore adequate sound
will reach the rear seats under the soffit.
Figure (num) shows a cross section of an auditorium.

8. Principles of Noise Reduction (NR). Better if you could research sample problems and
accompanied by solutions to explain their applications.

9. Cavity Walls. Important uses and application in finishing the room. Acoustical Windows,
Doors. And Acoustical Ceiling Boards.

Double-wall construction frequently offers the most practical means of obtaining high insulation at
moderate cost and reasonable dead load. Structural ties between the separate partitions tend to
convert the compound partition into a single rigid partition and thus reduce the sound insulation. The
effectiveness· of the absorptive material depends somewhat on the absorption already present between
the walls. In double walls which are not structurally separated, a slight additional insulation may be
obtained by the introduction of an absorptive blanket, especially in lightweight partitions. However, this
added insulation may not be economically worth.

Acoustic windows:

The positions of windows ought to be carefully planned so that, without sacrificing utility or beauty, they
are removed as far as possible from other windows in adjacent noisy rooms or from street noise. It is
even helpful to hinge the frames of a window which swings outward, so that the panes reflect in a
direction away from the window of the adjacent room, sound passing through the open window. The
average transmission toss of a window depends primarily on the thickness of the pane; the heavier the
glass, the more insulation it provides

Double panes are frequently used to increase the sound insulation of a window. To be most effective,
Increasing the air space increases the transmission loss considerably increasing the separation between
the two panes from 1 /2 inch to 6 inches may add as much as 10 db to the transmission loss.

Acoustic doors:
The transmission loss of a DOOR increases with increased weight. Most doors of ordinary construction
have an average transmission loss of 20 to 25 db; some specially manufactured doors have T.L.'s as high
as 40 db.

Doors solid 1 3/4", with cracks as ordinarily hung

256 cycles = 15 db

512 cycles = 20 db

1024 cycles = 22 db

solid 1 3/ 4" welll seasoned and airtight

256 cycles = 18 db

512 cycles = 21 db

1024 cycles = 26 db

Wood, heavy, approximately 2 Y2 " thick, rubber gaskets around sides and top; special felt strip pushes
down as door closes, eliminating any crack under door;

12.5 lb per sq. ft.

256 cycles = 30 db

512 cycles = 29 db

1024 cycles = 25 db

10. Decibel Scale and Octave Band. Better if you could research sample problems and
accompanied by solutions to explain their applications.
Figure (num) shows the decibel scale

figure (num) shows the octave band.

References:

https://www.sciencedaily.com/terms/acoustics.htm
https://www.britannica.com/science/acoustics/Modern-advances

https://emedicine.medscape.com/article/1948907-overview

https://www.who.int/occupational_health/publications/noise1.pdf

https://education.lenardaudio.com/en/04_acoustics_3.html

References
Salvan, G. S. (1999). Architectural Utilities 3 Lighting and Acoustics. Quezon City: JCM PRESS, INC.

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