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RISS 인기검색어
- 검색키워드
- 주제어 : Tonal Space (검색결과 3 건)
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Investigation of axial spacing effect on noise radiation generated by rotor-stator interaction
Wangjian Shu,Lin Du,Xiaoyu Wang,Xiaofeng Sun 대한기계학회 2023 JOURNAL OF MECHANICAL SCIENCE AND TECHNOLOGY Vol.37 No.5
The effect of axial spacing on tonal noise generated by rotor-stator interaction is numerically investigated. In the present hybrid method, acoustic sources related to wake and stator interaction are calculated using the nonlinear harmonic method, and sound radiation in the free field is solved via an acoustic analogy. The scattering effect of the duct is considered by implementing the boundary integral element method. The proposed method is first validated by predicting the tonal noise of the advanced noise control fan developed by NASA John H. Glenn Research Center. The effect of interface locations on the predicted sound radiation is studied. Results of the interface location in the middle of the rotor and stator are closest to the experimental data of tonal noise. The numerical results indicate that harmonic loading on the stator vanes and sound radiation in the far field exhibit a decreasing trend with an increase in axial spacing.
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슈만의 「크라이슬래리아나」 Op.16에서의 순환적 형식 구조에 관한 연구
배재희 ( Jaehee Bae ) 한양대학교 음악연구소 2004 音樂論壇 Vol.18 No.-
Robert Schumann composed nearly all of his significant piano works in the decade from approximately 1829 to 1839. The majority of these exemplify traditional formal types, including three sonatas, three sets of variations, two sets of etudes, several independent pieces, and a number of collection of pieces. However, several of Schumann’s most well-known works from this period, the so-called "piano cycles," have no real precedent among works by earlier composers. In researching the literature on cycles, I have found no detailed analytic approaches focusing on Schumann’s formal organization in his cycles. Music historians and theorists often dismiss the importance of formal consideration in Schumann’s cycles and postulate that Schumann instinctively juxtaposed individual pieces to form a collection without much coherent organization. I, however, suggest that Schumann's cycles result from preconceived plans that govern overall tonal structure and control the formation of details, relating them to a larger context. I also suggest that Schumann's piano cycles can be divided into three types: 1. Works such as Camaual, Op. 9, in which many brief pieces are linked by a large-scale coherent key scheme, recurring motives, and referential tonalities. 2. Compositions like Kreisleriana, Op. 16, in which the individual movements are lengthier than in those of the first type, and for the most part display conventional forms. This type of cycle consists of fewer movements, and often suggests a conventional multi-movement arrangement such as might be found in a sonata. 3. The third type contains only three works: the Arabeske, Blumenstuck, and Humoreske. This third type is a hybrid of the first and second types; there are fewer numbers of movements, as in type 2; but these movements are relatively shorter, as in type 1. The third type, furthermore, has other special features; these cycles are thematically unified throughout and in some respects suggest a long single movement with well-defined sections (for example, a Rondo). With these two suggestions, the third part of my study investigates how unity is supported on multiple levels in Schumann’s Kreisleriana. My methodology involves the following procedures: 1. Aspects of harmonic features: Important harmonic events and keys of upcoming movements are prepared and anticipated in preceding movements. And the presence of many harmonically open structures facilitates the establishment of strong local connections between sections and movement of Kreisleriana. 2. Principles of formal design including the relationships between the form of individual movements and the cyclic role within cycle.
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Jieting Han,Yu Zhang,Shiyang Li,Bin Huang,Dazhuan Wu 대한기계학회 2022 JOURNAL OF MECHANICAL SCIENCE AND TECHNOLOGY Vol.36 No.2
The effect of three noise reduction methods for rotor-stator interaction in diagonal flow fans was studied. The unsteady flow field and directivity of tonal noise were obtained by numerical simulation based on computational fluid dynamics (CFD) and the Ffowcs Williams and Hawkings (FW-H) method; the baseline model was tested in a semi-anechoic chamber. The generation mechanism and location of noise were investigated. In addition, the characteristics of tonal noise at blade-passing frequency (BPF) were studied, along with its harmonics. The results show that the tonal noise at 1 BPF dominates the overall sound pressure level. Proper rotor-stator spacing, a large forward-leaned angle, and a large backward-swept angle are beneficial to reduce tonal noise. Also, the noise reduction effect is related to the low amplitude and to the phase shift caused by the pressure response of the rotor wake impinging on stator surfaces, especially near the leading edge at 1 BPF.
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