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Grade requirements of subjective evaluator for the acoustic quality of musical instrument
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Basic data
| Standard ID | GB/T 33723-2025 (GB/T33723-2025) |
| Description (Translated English) | Grade requirements of subjective evaluator for the acoustic quality of musical instrument |
| Sector / Industry | National Standard (Recommended) |
| Classification of Chinese Standard | Y58 |
| Classification of International Standard | 97.200.20 |
| Word Count Estimation | 6,632 |
| Date of Issue | 2025-12-31 |
| Date of Implementation | 2026-07-01 |
| Older Standard (superseded by this standard) | GB/T 33723-2017 |
| Issuing agency(ies) | State Administration for Market Regulation, Standardization Administration of China |
GB/T 33723-2025: Grade requirements of subjective evaluator for the acoustic quality of musical instrument
---This is a DRAFT version for illustration, not a final translation. Full copy of true-PDF in English version (including equations, symbols, images, flow-chart, tables, and figures etc.) will be manually/carefully translated upon your order.
ICS 97.200.20
CCSY58
National Standards of the People's Republic of China
Replaces GB/T 33723-2017
Standard for Subjective Evaluation Personnel of Musical Instrument Acoustic Quality
Published on 2025-12-31
Implemented on July 1, 2026
State Administration for Market Regulation
The State Administration for Standardization issued a statement.
Foreword
This document complies with the provisions of GB/T 1.1-2020 "Standardization Work Guidelines Part 1.Structure and Drafting Rules of Standardization Documents".
Drafting.
This document replaces GB/T 33723-2017 "Standard for Grading Personnel for Subjective Evaluation of Acoustic Quality of Musical Instruments" and is consistent with GB/T 33723-2017.
Compared to previous versions, aside from structural adjustments and editorial changes, the main technical changes are as follows.
---The professional qualification requirements for performers have been changed (see 4.2.1,.2017 version 4.2.1);
---The requirement for performers to be familiar with the instrument being evaluated has been removed (see 4.2.2 in the.2017 version);
---The professional qualification requirements for evaluators have been changed (see 4.3.1,.2017 version 4.3.1);
---The requirements for evaluators regarding the evaluation rules have been changed (see 4.3.4, 4.3.3 in the.2017 version);
---The requirement for on-ear headphones has been removed (see 4.3.4 in the.2017 version);
---The occupational selection requirements for evaluators have been changed (see 4.3.8,.2017 version 4.3.8);
---The requirement for impartiality of evaluators has been added (see 4.3.9);
---The requirements for the composition of the evaluation team have been changed (see 4.4.1, 4.4.1 and 4.4.2 in the.2017 version);
---The requirement for recusal of evaluation panel members has been removed (see 4.4.3 in the.2017 version);
---Added personnel qualification evaluation (see Chapter 5).
Please note that some content in this document may involve patents. The issuing organization of this document assumes no responsibility for identifying patents.
This document was proposed by the China National Light Industry Council.
This document is under the jurisdiction of the National Technical Committee on Standardization of Musical Instruments (SAC/TC371).
This document was drafted by. Yinfei Technology (Jiangsu) Co., Ltd., Shanghai Feiyueyou Culture Technology Co., Ltd., and Chongqing Sweet Piano Co., Ltd.
The company, Guangzhou Pearl River Piano Group Co., Ltd., Beijing Light Industry Technician College (Beijing Musical Instrument Research Institute), Shanghai Conservatory of Music, Xinghai Conservatory of Music
College.
The main drafters of this document are. Fan Tingguo, Zhu Xiaohong, Sheng Pengyun, Zhou Feng, Tang Renwu, Zhang Xin, Guo Ting, Sun Jiaxi, Wang Jianhua, Yu Yang, and Ren Shihong.
Ji Haobo, Xiao Wei, Qin Hongwei, Xie Ji.
The release history of this document and the document it replaces is as follows.
---First published in.2017 as GB/T 33723-2017;
---This is the first revision.
Standard for Subjective Evaluation Personnel of Musical Instrument Acoustic Quality
1 Scope
This document specifies the terminology, definitions, and requirements for personnel who subjectively evaluate the acoustic quality of musical instruments.
This document is intended for personnel who make subjective evaluations of the acoustic quality of musical instruments.
2 Normative references
The contents of the following documents, through normative references within the text, constitute essential provisions of this document. Dated citations are not included.
For references to documents, only the version corresponding to that date applies to this document; for undated references, the latest version (including all amendments) applies.
This document.
GB/T 31109-2014 Methods for evaluating the acoustic quality of musical instruments
3 Terms and Definitions
The following terms and definitions apply to this document.
3.1
Subjective evaluation
The process of using human sensory organs to evaluate and test the acoustic quality of musical instruments.
3.2
instrumentalist
Personnel who perform musical instruments and provide subjective evaluation of the acoustic quality of the instruments (3.1).
3.3
evaluator
Personnel who use subjective evaluation (3.1) to examine the acoustic quality of musical instruments.
3.4
Evaluation Team
A team composed of evaluators (3.3) evaluates the musical instruments.
4 Requirements
4.1 Personnel Composition for Subjective Evaluation of Musical Instrument Acoustic Quality
The personnel responsible for the subjective evaluation of the acoustic quality of musical instruments consist of performers and evaluators.
4.2 Performers
4.2.1 Performers should possess a Level 3 performer qualification or above, or an intermediate professional title or above, or be a representative inheritor of intangible cultural heritage at the prefecture-level city level.
Applicants must possess a professional qualification (or higher) and have at least 10 years of experience playing the instrument in question.
4.2.2 Performers should be familiar with the pieces to be evaluated.
4.2.3 During evaluation, the performer's posture, dynamics, and style should remain consistent.
...
