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DOCUMENT RESUME

ED 431 293 EF 005 387

AUTHOR Watson, Lucy; Wadsworth, Alison; Nichols, Helen; Daniels,Richard; Marshall, Christopher; Orlowski, Rafal

TITLE Music Accommodation in Secondary Schools. A Design Guide.Building Bulletin 86.

INSTITUTION Department for Education and Employment, London (England).Architects and Building Branch.

ISBN ISBN-0-11-271002-6PUB DATE 1997-00-00NOTE 65p.

AVAILABLE FROM HMSO Publications Centre, P.O. Box 276, London, SW8 5DTEngland; Tel: 0171-873-9090; Fax: 0171-873-8200 (16.95British pounds).

PUB TYPE Guides Non-Classroom (055)EDRS PRICE MF01/PC03 Plus Postage.DESCRIPTORS Acoustical Environment; Case Studies; Check Lists;

*Educational Facilities Design; Foreign Countries; *InteriorDesign; *Music Education; Secondary Education; *SecondarySchools

IDENTIFIERS England

ABSTRACTThis document provides guidance on accommodations in

secondary schools, concentrating on the needs of 11- to 16-year-old pupils.The guidance is intended to assist all those who may be involved in thebriefing and design process. It discusses the issues that arise whenconsidering both new and existing accommodations. The document covers therange of teaching and non-teaching spaces likely to be required, and givesguidance on planning a suite of spaces with reference to the acousticenvironment. It also describes the size, shape, and planning of teaching andnon-teaching spaces; gives advice on furniture used in each type of space;provides a brief guide to the mechanical and electrical servicingrequirements for music spaces; and outlines some of the key points ofenvironment design. Concluding sections provide case studies showing theapplication of this guidance to existing schools and general cost informationand analysis using one of the case studies. Appendices include a checklist ofdesign considerations and two glossaries. (Contains 24 references.) (GR)

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Reproductions supplied by EDRS are the best that can be madefrom the original document.

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Music AccommodationE in Secondary Schpols

1

A Design Guide

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--\U.S. DEPARTMENT OF EDUCATION

Ofhce of Educational Research and ImprovementE UCATIONAL RESOURCES INFORMATION

CENTER (ERIC)This document has been reproduced asreceived from the person or organizationoriginating it.

0 Minor changes have been made toimprove reproduction quality.

Points of view or opinions stated in thisdocument do not necessarily representofficial OERI position or policy.

\ /

1

Building Bulletin 86in Architects and Building Branch

BEST COPY AVA,LAB1

PERMISSION TO REPRODUCE ANDDISSEMINATE THIS MATERIAL HAS

BEEN GRANTED BY

John Birch

TO THE EDUCATIONAL RESOURCESINFORMATION CENTER (ERIC)

BUILDING BULLETIN 86

Music Accommodationin Secondary Schcools

Architects and Building BranchDepartment for Education and Employment

London : The Stationery Office

AcknowledgementsThis publication has been prepared by thefollowing team of DfEE Architects andBuilding Branch professionals:Principal Architect: Lucy WatsonSenior Designer: Alison WadsworthSenior Architect: Helen NicholsSenior Engineer: Richard DanielsSenior QS: Christopher MarshallandAcoustic Consultant: Rafal Orlowski(Amp Acoustics).

The following people were also closelyinvolved as part of a project workinggroup:David Adams (Educational Consultant),Joan Arnold (Nottinghamshire LEA andNational Association of Music Educators),HMI Janet Mills (OFSTED),Len Wardle (East Sussex LEA).

Additional advice was given byAndy Murray (music project officer,NCET)and HMI David Macintosh.

The Department is grateful to the staff ofthe three Case Study schools, for their co-operation and support as well as to all theother school staff and LEA officers whowere so helpful on our many visits.

The assistance of DfEE designersChristine Holdforth and John Lloyd is also -

acknowledged.

Crown Copyright 1997.Published with the permission of theDepartment for Education andEmployment on behalf of the Controllerof Her Majesty's Stationery Office.

Applications for reproduction should bemade in writing to The Copyright Unit,Her Majesty's Stationery Office,St. Clements House, 2 16 Colegate,Norwich, NR3 1BQ 4

Introduction

Section 1: The Music Suite

Section 2: Individual Spaces

Section 3: Furniture

Section 4: Services and Environmental Design

Section 5: Case Studies

Section 6: Cost Guidance

Appendix 1: Checklist of Design Considerations

Appendix 2: Glossary I: General terms

Appendix 3: Glossary II: Acoustical terms

Bibliography

key to Symbols

3

Contents

1

3

10

22

31

43

52

. 55

57

58

59

inside back cover

Introduction

This publication provides guidance onaccommodation for music in secondaryschools. The guidance is intended toassist all those who may be involved inthe briefing and design process includingteachers, governors, LEA advisers andbuilding professionals. It discusses theissues that arise when considering bothnew and existing accommodation.

Within the National Curriculum, music iscompulsory in Key Stage 3 (KS3) andoptional in K54. The vast majority ofsecondary schools offer music in KS4 andthose with sixth forms frequently providecourses at A and AS level. A GNVQcourse, which includes considerable useof music technology, may also be offered.Teaching methods have changedsignificantly in the last two decades withthe emphasis moving from whole classteaching to a mixture of whole class andsmall group practical work and a highlevel of individual involvement inperforming and composing.Technological advances offer greateraccess to electronic instruments and moresophisticated recording methods.

Schools vary in the way in which theychoose to deliver their curriculum withinthe requirements of the NationalCurriculum and this affects theiraccommodation needs. Local authoritiesand schools will establish their ownbuilding priorities in the light of thefunds they have available for capital workand any conditions which may attach tothese funds. They will also wish toconsider any additional recurrent coststhat may result from building work. Theguidance given is not, therefore,prescriptive; the information is flexibleenough to be applied to a range ofdifferent situations. The publicationconcentrates on the needs of 11 to 16year old pupils and there is no specificadvice about pupils with specialeducational needs. However, the generalguidance will be applicable to allsecondary schools and the case studiesillustrate a range of school types includingthose with sixth forms.

It is recommended that theaccommodation requirements of musicare considered in the context of the wholecurriculum and that both specialistadvisers and building professionals, as wellas teachers, are involved with the analysisand planning.

The publication begins with a broadoutline of accommodation needs witheach aspect then covered in greater detail;a summary of the content is given here.

Section 1: The Music Suite provides aguide to the range of teaching and non-teaching spaces that arc likely to berequired. It also gives some guidance onplanning a suite of spaces includingreference to the acoustic environment.

Section 2: Individual Spaces describesthe size, shape and planning of teachingand non-teaching spaces. It is illustratedby furnished layouts of typical spaces.

Section 3: Furniture gives detailedadvice on furniture used in teaching andnon-teaching spaces.

Section 4: Services and EnvironmentalDesign provides a brief guide to themechanical and electrical servicingrequirements for music spaces andoutlines some of the key points ofenvironmental design. Acoustic design is

'.covered in particular detail.

Section 5: Case Studies shows theapplication of the guidance to existingschools by illustrating schemes for newand adapted music departments.

Section 6: Cost Guidance providesgeneral cost information and a costanalysis of one of the case studies.

Appendices include a Check List ofDesign Considerations and two Glossaries.

6 1


This section provides an introduction to the nature ofsecondary school music and outlines the range ofspaces that may be found in a music suite. Theguidance on planning includes issues associated withthe acoustic environment.

The Music Curriculum

1.1 The National CurriculumProgrammes of Study in music have astrongly practical emphasis and involvepupils in composing, performing,listening and appraising. Pupils haveopportunities to sing and to play a rangeof acoustic and electronic instruments,working individually, in small groups, oras a whole class. Performances take placeinformally within the class or formally toaudiences of varying size. The recordingof pupils' work is an essential elementwhich develops their understanding andfacilitates evaluation (see Glossary I).Related activities may include listening tolive or recorded music, or groupdiscussion.

1.2 In addition to the timetabled classesfor music, many pupils have instrumentalor vocal lessons in school, usually taughtindividually or in small groups byperipatetic teachers. These lessons last for15 to 30 minutes and can take placethroughout the school day during lessontime and break periods as well as beforeand after school. Pupils may also practisetheir instruments in school in their owntime. The number of pupils learning aninstrument will vary widely betweenschools. A typical figure may be 10% ofthe numbers on roll but in some casesthis may increase to 20% or even 40% in aschool with a particular music focus.There are also extended curricularactivities where pupils take part in andperform with a variety of musical groupsincluding brass bands, string ensembles,rock bands, steel pans, choirs or a wholeschool orchestra. These will vary in sizebut the largest are likely to be the choir,orchestra or big band which can exceed100 pupils. There may also be after-school use of the music department bythe community.

7

Teaching Spaces

The Range of Spaces

1.3 A music suite may be expected tohave one or more whole-class teachingspaces supported by a series of smallerrooms. The occasional use of a space thatcan be used for formal performances orfor rehearsals by larger groups such as theschool orchestra is also desirable.Depending on the nature of the .activity,this may be an assembly hall or a studiospace that is shared with drama or dance.The range of teaching spaces can besummarised as follows.

A music classroom used for whole classcomposing, listening, appraising andperforming. It can also be used for non-practical work such as research and willserve as a rehearsal and performancespace for some extended curricularactivities. However, when a class isdivided into a number of small groupsfor music-making activities such ascomposing, the variety and level ofsound can become uncomfortable in onespace and pupils may have difficultyhearing their work. It is thereforedesirable to have access to other spacesnearby.

Group rooms (or larger ensemblerooms) where small groups of pupils canwork on a composition for a part of thelesson. These spaces can also be used forinstrumental lessons and practice.

A recording/control room forproducing good quality recordings ofpupils' performances, particularly inKS4 and post-16.

Calculating the Number ofTimetabled Teaching Spaces(Music Classrooms)

1.4 The total number of timetabled spacesneeded is generated by the total number ofteaching periods. The number of teachingperiods will depend on a school'scurriculum and timetabling organisationincluding group sizes, the number of pupils

3


Model A

School

Size KS TP

10% take-up at GCSE

No. No.

Total Spaces Spaces

TP Calculated Rounded

f/use

% Notes

Total PPW: 40 600 KS3 24

Music 1313W: KS4 8 32 0.80 1 80%

KS3: 2(5%) 750 KS3 30KS4: 4(10%) KS4 8 38 0.95 2 48% low f/use

900 KS3 36KS4 8 44 1.10 2 55% low f/use

1050 KS3 42

KS4 8 50 1.25 2 63%

1200 KS3 48

KS4 8 56 1.40 2 70%

1350 KS3 54

KS4 16 70 1.75 3 58% 24:088%

1

1500 KS3 60

KS4 16 76 1.90 3 63%

Model B

School

Size KS TP

10% take-up at GCSE

No. No.

Total Spaces Spaces


f/use

% Notes

Total PPF: 50 600 KS3 36

Music PPF: KS4 10 46 0.92 2 46% low f/use

KS3: 3(6%)750 KS3 45

KS4: 5(10%)KS4 10 55 1.10 2 55% low f/use

900 KS3 54

KS4 10 64 1.28 2 64%

1050 KS3 63

KS4 10 73 1.46 2 73%

1200 KS3 72

KS4 10 82 1.64 2 82%

1350 KS3 81

KS4 20 101 2.02 3 67%

1500 KS3 90

KS4 20 110 2.20 3 73%

Figure 1/1Number of spaces for 2 models

KeyPPW = periods per weekPPF = periods [Ser fortnightTP = teaching periodsf/use = frequency of useKS = key stage

Notes

1 The Dearing revision of theNational Curriculum is basedon a recommended minimumof 45 hours of music per yearin KS3. In most schools this isequivalent to about 5% ofcurriculum time.

4

School

size KS TP

20% take-up at GCSE

No. No.

Total Spaces Spaces


f/use

% Notes

600 KS3 24

KS4 8 32 0.80 1 80%

750 KS3 30

KS4 16 46 1.15 2 58% low f/use

900 KS3 36KS4 16 52 1.30 2 65%

1050 KS3 42

KS4 16 58 1.45 2 73%

1200 KS3 48

KS4 16 64 1.60 2 80%

1350 KS3 54

KS4 24 78 1.95 3 65°k

1500 KS3 60

KS4 24 84 2.10 3 70%

School

Size KS TP

20% take-up at GCSE

No. No.

Total Spaces Spaces


f/use

% Notes

600 KS3 36

KS4 10 46 0.96 2 46% low f/use

750 KS3 45

KS4 20 65 1.30 2 65%

900 KS3 54

KS4 20 74 1.48 2 74%

1050 KS3 63

KS4 20 83 1.66 2 83%

1200 KS3 72

KS4 20 92 1.84 3 61%

1350 KS3 81

KS4 30 111 2.22 3 74%

1500 KS3 90

KS4 30 120 2.40 3 80%

choosing music as an option in KS4 and,in an 11-18 school, the number of pupilstaking music in the sixth form.

1.5 Figure 1/1 shows the number ofmusic classrooms that are generated bytwo curriculum models, reflecting typicalsituations in schools. For each model, thecurricular percentage is constant in KS4(10%) and in KS3 ranges from 5% (modelA) to 6% (model B).' The `take-up' inKS4 varies from school to school andfrom year to year. These models showtwo options for the GCSE `take-up': 10%and 20% of the year group. The higherfigure is not oftcn exceeded at present,

r r

the current national average is around10%. For the purposes of this publication,maximum group sizes are taken as 30 inKS3 and 24 in KS4. The increase inGCSE `take-up', from 10% to 20%, onlyaffects the total number of spaces in onecase (model B, 1200 school). There aretwo reasons for this: either extra pupilscan be accommodated without generatinganother group or the frequency of use ofthe space(s) is sufficiently low to allow forincreased timetabling.

1.6 The average frequency of use of thespaces is shown in the table - this is thenumber of periods a space is used as a

percentage of the total number of periodsavailable. Where rounding up to thenearest whole number of spaces results ina frequency of use over 90%, the nexthighest number of rooms is given. Wherethe frequency of use lies between 85%and 90% (as in Model A, 1350 pupils)two figures are given.2 The use of musicspaces will be considered in the context ofthe accommodation and the number ofteachers in the school as a whole andwhere the average frequency of use of aspace falls below about 60%, one of thespaces may occasionally be used by otherdepartments. This could occur, forexample, in the 750 place school teachingcurriculum model A.

1.7 Figure 1/1 reflects the needs of an11 to 16 school. A GCE A-level group inan 11 to 18 school can usually betimetabled into one of the musicclassrooms or an ensemble room. Pupilswill also use the group rooms andrecording/control room (the latter inparticular for music technology courses).In cases where the average frequency ofuse of the spaces is very high and theA-level group is large, an additionalensemble room may be justified.

The Size of TimetabledTeaching Spaces

1.8 Figure 1/2 shows suggested arearanges for a music space according togroup size.3 A music classroom of 60-70m2 (from the upper part of zone B)will accommodate up to 30 pupilsinvolved in a range of practical and non-practical activities. A larger space fromzone D (79-91m2) will serve as a base fora range of extended curricular activitiessuch as choir practice or recitals, inaddition to normal classroom activities.Such a space (sometimes called a recitalroom) can also be used by the communityas a recital/rehearsal space after schoolhours. It is desirable to have one space ofthis size in every music department, part-icularly where there is a strong extendedcurricular/community element or whereaccess to other large spaces is limited.


Area of Space (m2)

100

9037+1.8G

80 -34+1.50

70 16+1.86

60

6+1.60

50

40

KS3/4 15 20 25 30 (G)

post 16 10 15 20 (g)

Group Size: Number of Pupils

Group Rooms and EnsembleRooms

1.9 These rooms are used as support toclasswork and for instrumental lessons. Ifa music room has access to four grouprooms a class of 30 pupils can be dividedinto five small groups for practicalactivities such as composing. Where thereare two or more main teaching spaces, theratio may be reduced depending on theneed for each music classroom to havesimultaneous access to group rooms.These rooms can also be used forinstrumental teaching and practice. Thesize of such a space will range from6-8m2, depending on the type andnumber of instruments involved. Roomsof varying size will offer the mostflexibility. Further detail on the size, shapeand furniture layout of timetabled andsupplementary teaching spaces is given inSection 2.

Figure 1/2Area range for musicaccording to group size

Notes

2 Although a high frequency of

use of all spaces is desirable,

it may be difficult in specialistrooms to organise thetimetable to achieve a

frequency of use over 85%.

3 The graph is based on the

formulae shown alongside,

where G (or g) = group size. Itis extracted from AreaGuidelines for Schools (BB82),

DfEE 1996.

5


Notes4 The room associated with a

drama space which controlsstage lighting is often referred

to as the Control Room. Thetwo control room functionsmay be combined in a single

room when attached to a multi-

purpose performance space.

6

1.10 There will be an occasional needfor a bigger group room where 8-12pupils can work together or where largerinstruments can be played; this space isusually referred to as an ensemble room. Itis common to designate one of the grouprooms as the main instrumental base thatcan be available for part, if not all, of theschool day for peripatetic teaching. This isoften the ensemble room which as a largerspace provides a more comfortable andversatile environment. However, the use ofthese spaces will have to be fairly flexible toaccommodate the irregularities of theperipatetic timetable and allow for varyinggroup sizes in both composition andinstrumental work. A space of 20-25m2allows groups of up to 12 pupils to work.The use of very large instruments or groupsof instruments may need to be considered(see paragraph 2.21, Section 2).

Recording/Control Room

1.11 A recording/control room is aspace containing equipment whichcontrols the recording of a performancein this or other spaces.4A room of about10-15m2 will accommodate appropriaterecording equipment and 2 or 3 people.In class music sessions, this space oftendoubles as a group room for compositionwork. It may also be timetabled for A-level music technology. A recordingstudio, as a performance space to be usedin conjunction with a control room, issometimes provided in more specialisedaccommodation.

Schedules of Teaching Spaces

1.12 Figure 1/3 shows the range ofspaces that may be provided for music in11-16 schools. These models applymainly to new music suites but they canalso be used as a guide in adaptationprojects. The number of timetabledspaces is derived from the curricular'models described in Figure 1/1. A take-up of 10% in KS4 has been shown. It isassumed that 10% of pupils haveinstrumental lessons, half taught

individually and half in groups of three orfour. The overall teaching area in thesemodels is 3.7-4.8m2 per work place. It ishigher where the smaller spaces are lesseffectively used. The following criteriahave been applied.

Each school has one music room whichis large enough to accommodateextended curricular activities such asrecitals or medium sized rehearsals(85m2). All other classrooms are largeenough for a range of practical andnon-practical activities (65m2). Thesespaces may be shared with otherdepartments where the frequency ofuse is low (see paragraph 1.6).

Each school has an ensemble room(20m2), primarily for instrumentallessons. Larger schools have two suchspaces to allow for the greater number ofpupils likely to be taking instrumentalclasses (unless there is adequate 'spare'capacity in group rooms).

Generally, there are four supportinggroup rooms for each timetabledclassroom, ensuring that rooms forcomposing will be available for everytimetabled lesson. In some cases theensemble room is counted as one ofthe four. However, where the averagefrequency of use of timetabled roomsfalls below 60% and group rooms arenot required for instrumental lessons, afull complement of group rooms maynot be justified and schools maychoose to organise their activities tosuit fewer rooms. The cases where thenumber of group rooms may bereduced are highlighted on the table.

For the purposes of calculation, it isassumed that almost all instrumentallessons take place in the ensembleroom with a few in the smaller grouprooms as timetabling allows. In prac-tice there is unlikely to be a rigiddividing line between the use of theensemble room and other grouprooms.

10


Model ASchool

Size

Class/Recital(850)

no. area

Class(65m9

no. area

Ensemble(20m2)

no. area

Group(ave. 7m95

no. area

Recording/Control(10m2)

no. area

TotalArea

m2

TotalArea

per WPm2

Ave

f/useMain

Space

40 PPW600 1 85 1 20 4 28 1 10 143 4.8 80%

KS3 5% 750 1 85 1 65 1 20 7 49 1 10 229 3.8 48%

KS4 10%10% take-up 900 1 85 1 65 1 20 7 49 1 10 229 3.8 55%

at KS4 1050 1 85 1 65 1 20 7 49 1 10 229 3.8 63%10% pupilstake

instrumentallessons

1200

1350

1

1

85

85

1

2

65

130

2

2

40

40

8

10

56

70

1

1

10

10

256

335

4.3

3.7

70%

58%

1500 1 85 2 130 2 40 10 70 1 10 335 3.7 63%

Model B SchoolSize

Class/Recital(65m2)

no. area

Class(65m2)

no. area

Ensemble(20m2)

no. area

Group(ave. 7m2) 5

no. area

Recording/Control(10m2)

no. area

TotalArea

rri2

TotalArea

per WPm2

Ave

t/useMain

Space

50 PPF600 1 85 1 65 1 20 7 49 1 10 229 3.8 46%

KS3 6% 750 1 85 1 65 1 20 8 56 1 10 236 3.9 55%

KS4 10%10% take-up 900 1 85 1 65 1 20 8 56 1 10 236 3.9 64%

at KS4 1050 1 85 1 65 2 40 7 49 1 10 249 4.2 73%10% pupilstake

instrumentallessons

1200

1350

1

1

85

85

1

2

65

130

2

2

40

40

8

12

56

84

1

1

10

10

256

349

4.3

3.9

82%

67%

1500 1 85 2 130 2 40 12 84 1 10 349 4.0 73%

Non-Teaching Spaces

Store Rooms

1.13 Some items, such as percussioninstruments and reference material, willbe kept in the classroom where they arevisible and easily accessible. Other classrf-sources will be kept in a classroomstore. School instruments that are usedfor extended curricular activities oroccasional classwork are usually kept in aseparate and secure instrument store.This is also where pupils can leave theirown instruments, brought in forinstrumental lessons or classwork. Someschools also use the group rooms forstorage. This can make the best use ofavailable space but needs carefulmanagement to ensure the room remainsusable as a group room and to avoidproblems of accessibility or damage todelicate items. A staff base may be usedfor secure storage.

BEST COPY AVMLAbLE

1.14 An overall area of 0.3-0.4m2 perworkplace can be used as a rough guidewhen calculating storage area butrequirements will have to be individuallydetermined because school instrumentstocks vary so widely. Sections 2 and 3provide detailed guidance on the size andshape of store rooms and on specialiststorage systems.

Staff Bases

1.15 It is desirable to have a teachers'base for meetings, preparation andstorage. This room usually doubles as anoffice for peripatetic staff and in someinstances may also be used as a grouproom. In some schools there are anumber of peripatetic and part-timeteachers as well as some part-timeadministrative support staff. A securestore attached to the staff base is anadvantage for pupils' records and certainpieces of equipment.

Figure 1/3Range of music spacesfor 2 models

Key

PPW

PPF

KS

WP

f/use

= periods per week

= periods per fortnight

= key stage

= workplace

= frequency of use

= possible reduction ingroup rooms

Notes5 The size of group rooms will

vary. An average of 7m2 is

assumed for these models.

See Section 2 for furtherdiscussion on group room

sizes.

7


Planning Principles

1.16 An appropriate acousticenvironment is more important in musicaccommodation than in most other areasof the school. In general the aim is toenable people to hear music clearlywithout distraction and with suitableenhancement by the room acoustic. Thetwo main issues are sound quality andacoustic insulation. The quality of musicalsounds is affected principally by roomproportion and surface finishes althoughother factors are also important. Soundinsulation, to avoid disturbance fromunwanted sounds, is affected by planning,structure and constructional detail. Theprinciples of acoustic design aresummarised in Section 4 and covered inmore detail in other publications, listed inthe Bibliography. The ways in whichplanning can affect acoustic insulation arediscussed here.

1.17 When a music department is beingplanned, the first decision may be itslocation on the school site. Two of thefactors that may affect this decision are:

security: there are many valuableinstruments in a music department,including electronic keyboards andcomputers;

acoustics: the music department shouldnot be disturbed by external noise suchas a busy road or the playground.Conversely, noise generated fromwithin the music department shouldnot disturb neighbouring activities.

1.18 If a new building is planned, themusic department may be designed eitheras a separate 'block' or as an integral partof the main school. An integraldepartment can have the followingadvantages:

it is identifiable as at the heart of theschool;

the school hall (if nearby) can be easilyaccessed for performance and rehearsalactivities;

there are more possibilities for sharingspaces across departments, for examplewhere the music curriculum onlydemands 50% use of a second space.However:it may be more difficult tO ensureadequate acoustic insulation between themusic department and other spaces.

A separate building can have thefollowing advantages:

the separation will minimise acousticdisturbance to and from the musicdepartment;

the building can be used independentlyof the main school buildings forcommunity use.However:it may be more difficult to create a senseof integration with the rest of the school;

there will be external circulationbetween the music department and therest of the school.

1.19 Separate music departments aresometimes designed as a 'pavilion' with astrong geometric form. This may bedifficult to adapt to changing needs in thefuture.

1.20 Figure 1/4 illustrates planningprinciples to be considered whetherbuilding new or adapting existingaccommodation for music. This exampleindicates a department that is attached tothe main part of the school but most of thepoints apply equally to a separate block.

If all music accommodation is locatedin the same area, equipment (such asthat used for recording musicalperformances) and instruments can beshared more effectively. Supplementaryteaching spaces such as an ensembleroom or recording/control room canbe accessed by more than one class andit is easier to co-ordinate the peripa-tetic activities with the rest of themusic department.

If music rooms are to be usedextensively after school hours it may beuseful to be able to isolate the suite, for

- 128

security reasons.6 If there is a separateexternal access it will need to becontrolled and local toilet facilitiesmay be provided.

A music suite on one floor is prefer-able as it facilitates staff and pupils' useof shared spaces and makes supervisioneasier.

Pupils should be able to access theinstrument store without disturbingclasses. Security should be consideredwhen deciding the location of this store.Classroom stores should be easilyaccessed from the teaching space.

'Dead' spaces such as store rooms canact as buffers, providing effectivesound insulation between two musicrooms. The instrument store canprovide useful acoustic separationbetween the main instrumentalteaching room and other grouprooms. A corridor can be used in thesame way between the music class-room and the group rooms.

Group rooms should be easilyaccessed, either directly &aim theteaching space' or via an adjacentcorridor. The former requires morecareful detailing to ensure adequateacoustic separation between the tworooms. It can also reduce flexibilitybecause it is difficult for pupils fromother classes or those taking instru-mental lessons to use the spaceswithout inconveniencing the class.

If there is a recording/control room, itshould be possible to have visual as wellas miclio contact between this room andat least one music classroom.

It may be desirable to provide onegroup room or ensemble room with ahigher value of acoustic separation forrecordings made for examinationpurposes. If such a space is adjacent tothe recording/control room, there canbe visual as well as audio contactduring recording. Such a space will beparticularly relevant in the context ofGCSE examinations work.

BESTCOPYAVfidLABLE


Storesprovide

acousticbarrier

Recordingpossible

from morethan one

space

OTHERCLASS

To otherdepartments

Easyaccessinstruments

Acoustic separationfor ensemble room

Possibleseparate

Ensemble

Room

to

Instrument

store

store store

GroupRoom

Easy access to stores

MUSICCLASS

Corridorcreatesacousticseparation

Group

Room

Group

Room

Recording/

Control

storeGroupRoom

Room

),.GroupRoom

WCS

(evening use)store

MUSICCLASS

GroupRoom

Easyaccessto supportspaces

Group

Room

Careful acoustic detailing ifgroup room opens off class

store

4 access

Staff Base

(box office)

GroupRoom

Group

Room

Toilets should, if possible, be locatedremotely from music spaces. Where thisis unavoidable, measures should be takento prevent transmission of noise gener-ated by water flow.8 In Figure 1/4, thetoilets are intended for evening use whenthe group rooms would not be in use.

13

Figure 1/4Planning principles to beconsidered

Notes6 It may also be convenient toprovide separate zoning ofservices see Section 4, para4.1.7 This arrangement may befavoured because it facilitatessupervision.8 Measures include avoidingmounting pipework on the partywall, or if this is not feasible,the use of pipe clamps fittedwith resilient collars.

9


This section looks at the design of timetabled and

supplementary teaching spaces and store rooms. Referenceis made to some of the acoustic requirements of music

spaces but these are dealt wkh in greater detail in Section 4.

Notes1 For further explanation, see

Section 4: Sound Quality.

Timetabled TeachingSpaces

2.1 In the music classroom pupils will beinvolved in a range of practical and non-practical activities including:

whole class composing and performing(including singing), Figure 2/la;

whole class discussion/seminar/listen-ing/evaluation, Figure 2/1b;

individual or small group performance tothe rest of the class;

small group composing (while somepupils use group rooms), Figure 2/1c;

whole class keyboard skills work;

individual/small group research.

2.2 A range of instruments will be usedincluding: orchestral and band instruments,tuned and untuned percussion, ethnicinstruments, electronic keyboards and thevoice. Computers can be used to co-ordinate and sometimes notate elements ofcomposition work. CD ROM may be usedto support listening and appraising.

Figure 2/1aWhole class composing andperforming

2.3 A music classroom should have anappropriate acoustic environment for

listening, composing and performing. Itwill also need to be furnished and equippedto accommodate this range of activitieswithout excessive re-arrangement.

The Size and Shape of aMusic Classroom

2.4 Section 1 (paragraph 1.8) suggests thatan area of 60-70m2 can accommodate upto 30 pupils engaged in a wide range ofactivities, some of which are listed inparagraph 2.1. A space of 54-60m2 can alsobe suitable but some of the practicalactivities may be more difficult to manageand there may be some reduction inflexibility. Section 1 also refers to a largerspace of 79-91m2 which can haveadditional use as a rehearsal andperformance space. Spaces of 65m2 and85m2 are illustrated in Figures 2/3 and 2/4.

2.5 The shape of a space can affect the wayin which it can be used. A long narrowspace may restrict whole class andperformance activities and pupils at the backof a class may have difficulty hearing theteacher. Irregular plan shapes (eg.shaped) can reduce flexibility and makesupervision difficult. For good acoustics,classrooms which are square (or based on asquare) in plan and section should beavoided. Symmetrical geometric ceilingforms such as barrel vaults should also beavoided as they can cause undesirablefocusing.'

10 14


A Planning Strategy

2.6 Furniture and equipment (F&E)layouts are a valuable means of assessing thesuitability of room size or shape at an earlydesign stage and can be used to assess F&Eneeds and therefore budgets.

2.7 All the music classrooms shown in thisdocument are intended to accommodate awide range of activities with equalconsideration to each part of the musiccurriculum. The F&E layouts follow aplanning strategy which can be used as aguide to new or existing spaces. Each layouthas the following characteristics:

a notional zone is assumed (light pink inFigure 2/2), which forms about half thearea and accommodates a series oftemporary furniture layouts for varyingactivities including a performance to theclass, whole class singing, or rehearsals;

tables are generally positioned along twosides of the space (the dark pink zone inFigure 2/2) but they are loose and canbe re-arranged to suit a range of activities;

each layout provides a work surface forup to 30 pupils taking part in keyboardwork2, whole class composing withpercussion or note taking;

standing height fixed benching withstorage and display above is concentratedon one wall; storage units (mobile orfixed) are assumed below;

a teaching wall at 900 to the window wallincludes positions for audio equipment,whiteboard(s) and a piano. From herethere is a good view of the entrance andspace as a whole;

BEST COPY AVMLA LE

a recording/control room is assumed tobe accessed from the teaching wall;

coats and bags storage is provided by theroom entrance;

a free area (next to the entrance wherepossible) allows a computer trolley to bewheeled in when required.

Recording/ControlRoom

Ureeding we]

store

Coats andlBags

f I

Class Gatherings,Performance andKeyboard Work

ifPooglon

Storageand

Display

Keyboard Work and Note TakIng

,4 Entry

1 d,

Figure 2/1bEvaluating a groupperformance

Figure 2/1cSmall group composing

Figure 2/2Zoning diagram layout for amusic classroom

Notes2 Each layout allows for a

provision of up to 15keyboards.

11


linUSTENING/ er'`...NOTER:44:013 1....,,,,,/n :. iEmi r

,..--.4

tr-,--11,-.---4,

111 r ,, Ar ,

USTENING/ , ..t.,...i1....J ( ,.. APPRAISING/ - e)

INDIVIDUAL \......1 `,...,_ CLASS PERFORMANCE - ,...., 0,-1 \ 0KEYBOARD ( ii ---4-------i--,r--1- , ...)

WORK ' L ii I ii h 0n...___-._,....6_,2 L i L_J ' \--

recording/control

MUSICCLASSROOM

65m2

L.1

IRESEARCH/ C

GROUP THEORY WOW<

4

A

Nil

il

il

7.7m

=ME2

Figure 2/3 A & B65m2 music classroomplanned for a range ofactivities

3 4

Key to Annotations

INDIVIDUALKEYBOARDWORK = main activity

shown

LISTENING/APPRAISING = alternative

activity

12

5m

8.4m

recordincontrol st

3m2

GROUP PERFORMANCE

KEYBOARDWORK

1-1 f-1

SICCLASSROOM

65m2

LISTENING/APPRAISING

INFORMAL CLASS PERFORMANCE

Li LiRESEARCH/GROUP THEORY WORK

r--; r-

L,J L.....!

!LISTENING/APPRAISING/NOTE-TAKING r- --,

The Music Classroom Layouts

2.8 Figures 2/3 and 2/4 show how amusic room planned according to thestrategy outlined in paragraph 2.7 canaccommodate a wide range of musicalactivities with a minimum of furniturere-arrangement. It is assumed thatsocket outlets are provided around theperimeter and in the floor. This givesflexibility by allowing keyboards to beused in any part of the room (seeSection 4, 'Electricity'). Morespecialised equipment may be used formusic technology, particularly at sixthform level, but this is not shown here.

2.9 Two sizes of space are shown,65rn2 and 85m2. All the layouts in the65m2 room show standard rectangularclassroom tables (1200x600mm) but analternative a 15° trapezoidal table is

shown in the larger room. The shape of

BEST COPY AVAILABLE

these tables makes a 'horseshoe'arrangement easy and allows goodcirculation space around the formation.The void which occurs when thesetables are placed at 90° to a wall, allowsa simple form of wire management or'cable tidying' to be provided. Furtherinformation on tables and other itemsof furniture shown on these layouts canbe found in Section 3.

2.10 One-and-a-half-leaf doors provide awider opening which may be useful whenmoving bulky items such as a pianobetween rooms.

16

;R,r .9 "'"?iS*,,, 6\ ;;JC,-.) L,*

fin

LJLIKEYBOARDWORK

st3m2

DOYVVVVVVII

MUSIC CLASSROOM65m2

:\,t;;'

V"Ca=

KS4 GROUP ERFORMANCE

8LISTENING/APPRAISING/

NOTETAKING

RESEARCWGROUP THEORYWORK

3

3

A Music Classroom of 65m2(Figure 2/3)

2.11 Four different room layouts areshown, A, B, C and D.

A. Half the class are working at akeyboard with the teacher observingand instructing from the end of eachpeninsula unit. This illustration assumesthat pupils are working one to akeyboard and the remaining pupils arein group rooms. The layout could alsowork with a whole class sitting at thetables (one keyboard between two) oralternatively gathered for activities suchas singing (chairs are shown dotted).

B. Chairs are brought to the centre ofthe room for listening to each others'performances or compositions, forwhole class discussions or listening torecorded music. Pupils could also sit atthe tables for small group discussionwork or research.


.............................................recording/ ...

control-:: 3rn2

, N _...1

C li Z-51- A A--1:::S') ii 3

,----).--- .

;'-'-'1' ----(--\ 1)1 j-,..iL.,L mum t---).L....,CLASSROOMT-4-...,65m2

f---i ,.......

fil , ,..4.....

, .., iL/STEMNG/APPRAT/SING/

L ilii ,141.A.S.S PERFORMANCE(

L-11Ju7117 LJ LIWHOLE CLASS KEYBOARD WORK

IEEE

C. A more formal performance takesplace, probably in KS4. Pupils bringchairs to the centre of the room towatch and listen or they can takes notessitting at the tables.

D. Tables are arranged in a circular orhorseshoe layout for a whole class ofpupils to use keyboards (powered fromsocket outlets located in the floor),listen to a recording (and be able totake notes), or take part in whole classcomposing. The teacher is assumed tobe addressing the class from theteaching wall. Alternative seat positionsare shown in front of the desks whichenable pupils to sing or perform 'in acircle'.

BEST C

1 7

2 3 4

Figure 2/3 C & D

65m2 music classroomplanned for a range ofactivities

5m

PY AMIABLE

13


st 4.5m2

C

INDIVIDUAL KEYBOARD WORK

LISTENING/APPRAISING/NOTE-TAKING

STORAGE/DISPLAY

KEYBOARDS

,\ 1/ -7

LISTENING/APPRAISING/CLASS PERFORMANCE \st/

P----11/,

,`-,r/

h.,,RAti RECITAL ROOM85m2

INDErtilUAL 1

KEYBOARD ,::=1WORK ,

recording/control

I

Ac-,

COMPOSINRESEARCH

MEI =III2 3

Figure 2/4 A & B85m2 music class/recital roomplanned for a range ofactivities

Notes

3 In a space of this volume

(about 2500) a brassinstrument played forte would

be uncomfortably loud, and agroup of brass instrumentswould be even more

uncomfortable. In such a

situation, heavy drapes are a

practical and effective methodof reducing loudness. See

Section 4.

14

4 5m

st 4.5m2

RECITAL ROOM85m2

WHOLE CLASS KEYBOARD WORK

-1 1

41111', y'` N/

1 LISTENING/ .:..**1:10 APPRAISING/ ii CLASS PERFORMANCE' 11:

------,..1

1.---

11--:--De:

fr_. ,....1I 'pill:A,

:11__....11:.,1

i-ii,..

1 tl::IN.........k

,t,...7.

\----;\ _.,,.../e, .N'c% \s')

recor

InInh,h41014141011

Q3,

A Class/Recital Room of 85m2(Fig 2/4)

2.12 This room accommodates the sameclassroom activities, outlined in paragraph2.1, as the smaller room. The basicelements of tables, side benching and ateaching wall are still present and mostissues raised in the description olthe65m2 classroom are relevant. However, itis assumed that the recital room has anadditional function as a performancespace with concerts and recitals given infront of a small audience, either as part ofclasswork or during extended curriculartime.' The space will also be used forrehearsals.

18

2.13 The additional 20m2 allows part ofthe floor area to be allocated to staging.Creating a stage can help to improvepupils' performing 'skills. A demountable.system can be built in different formationsor removed completely should it be usedinfrequently (see also paragraph 3.32,Section 3}. Staging can be kept in one ofthe group rooms or store rooms orstacked in one corner of the room whennot required. Performances in this spacemay vary from a soloist to a windensemble, the ability to re-arrange thestaging enables the performance area tobe used effectively. A one-and-a-half-leafdoor is shown into the store where bulkyitems such as staging may be kept.

st 4.5m2

=.=

LISTENING/APPRAISING/

NOTE-TAKINGRECITAL ROOM

85m2

USTENINWAPPRAISING/INFORMAL CLASS PERFORMANCE

L.; GROUP PERFORMANCE

recording/control

2.14 Four possible arrangements areillustrated: A, B, C and D.

A A classroom situation with some pupilsat keyboards and a free space available forsinging 'in a circle', evaluation orperformance. Staging is stored away.

B. Tables are arranged for whole classkeyboard work. Chairs can be broughtforward for singing 'in a circle'.

C. A group of five pupils is performingfrom a stage to the rest of the class.

D. The classroom tables are moved to theperimeter of the room to create a moreformal performance space suitable for asmall audience. It is worth noting that


rases-11"A"lo

TABLES CLEARED TO

RECITAL ROOM85m2

(5)r) USTENING/APPR4SING/INFORMAL CLASS PERFORMANCE

st4.5m2

4

AUDIENCE SEATING

K9C9DnwKEYBOARDS

STORAG iIDISPLAY/

KS4 GROUP PERFORMANCEFORMAL PERFORMANCE/

\ II1:=Q13:1=1

0 44

N.A.\

0/N:1)

recording/control

MIIMI NMI

the trapezoidal tables shown here alongthe wall take up less wall space than thestandard rectangular shape. The tablescould alternatively be stacked in a store orgroup room.

2 3 4 5m

Figure 2/4 C & D85m2music class/recital roomplanned for a range ofactivities

BESTC PYAVA1LABLE

1 915


Figure 2/56m2 group roomA: an instrumental lessonB: small group compositionwork

Figure 2/68m2 group roomA: an instrumental lessonB: small group compositionwork

16

A

A

Supplementary TeachingSpaces

Group/Ensemble Rooms

2.15 While there may be group roomsprimarily for composition work and anensemble space designated as the base forinstrumental teaching, these spaces aremost effective if they are multi-fimctional.

2.16 Peripatetic lessons may be takenindividually, or in groups of up to four.Individual pupils or groups also practise intheir own time. Group sizes for classcomposition in KS3 vary widely but arenot usually larger than six, KS4 pupilswork in pairs or individually. Pupils learn avariety of instruments in most schools,including traditional orchestral, such asviolin or flute, and contemporary bandinstruments. In class work, percussion willbe used a good deal, although pupils willalso play tfieir own orchestral instruments.

'4),, 0

ifROCM

6m2

sosill

rri

INE=.1.=111.1110 0.3 0.8 0.0 1.2 1.5m

2.17 There will be very little furniture in agroup room, unless it serves a dual use as astore room or office. Typically there will be afew stacking chairs, music stands, a fulllength mirror for teaching the correctposture when playing and some coat hooks.In larger group rooms or the ensemble roomthere may be a table for a keyboard or apercussion instrument.

Size and Shape of Group/Ensemble Rooms

2.18 The space requirements will bedetermined by the number of people usingthe room and the type of instrument beingplayed. A drum kit and a piano areparticularly space consuming. However, thespace required for an instrument is as muchdetermined by the loudness of sound. Anintolerable volume of sound would make itundesirable for a drum kit to be played in thesmallest group room. There is usually a piano

in the ensemble room and in at least one outof every four group rooms used by theinstrumental teacher, for individual practiceor as part of group composition work. Onepiano is often housed in the smallest grouproom leaving the larger spaces available if thepiano is in use by one pupil. Compositiongroups, which may be larger (at KS3) thaninstrumental groups, tend to require lessspace per pupil because of their informalityand the type of instruments being played.

2.19 A room for instrumental teachingand composing will generally be around6-8m2. About 6m2is large enough toaccommodate a piano with up to threepupils taking part in an instrumental lesson,or up to five pupils playing a range ofmainly percussion instruments as acomposition exercise. A space of 8m2willallow for a piano alongside a group of threeor four instrumentalists, or up to six in atypical composition group. An area of4-6m2may be useful for some instrumentallessons and to practise, but is limited forcomposition work which is usually in largergroups. The stated areas do not includeany storage.

2.20 If all the group rooms are at least 6m2,they can accommodate most instrumentallessons and a variety of group formations forcomposition work. One or two spaces of atleast 8m2 will widen the range of possibilities.A suite of four group rooms, as described inSection 1, could therefore comprise twomulti-purpose spaces of 6m2and two of 8m2.

2.21 A larger room of 20-25m2(oftencalled an ensemble room) can be used forlarger group rehearsals or performance as wellas instrumental lessons in a more favourableacoustic environment. A room of 20m2 canaccommodate a piano and 8-10 pupilsrehearsing. A room of 25m2 willaccommodate perhaps another 2 pupils,depending on instruments. A drum kit isoften kept in the ensemble room andsometimes in the music classroom where itmay be used as part of group compositionwork or as a teaching tool. Schools whichhave additional large instruments such as agamelan or set of steel pans will need to


consider how best to accommodate themwithin the area available.

2.22 In terms of room proportion,square plan forms should be avoided, andlong narrow spaces are not conducive tointeractive group work. Group roomsshould incorporate at least one wallangled at between 5° and 10° to promotesound diffusion and preclude standingwaves and flutter echoes (see Section 4and Glossary II).

Group Room/Ensemble RoomLayouts

2.23 Figures 2/5 and 2/6 show grouprooms of 6m2 and 8m2 where pupils areengaged in either composing orinstrumental lessons. A piano is shown inthree of the spaces; in one of the 8m2rooms a table is shown as an alternative.The latter is intended mainly for keyboardplaying but would also be useful as a worksurface. A teacher is shown in each room(shaded grey), either playing aninstrument or assisting/observing agroup. The following points are notable:

the door is located in the comer of theroom to minimise wasted space;

one wall is at an angle of 7° (seeparagraph 2.22);

in the smaller rooms, the piano ispositioned against the wall to savespace but in a way that allows theplayer to have eye contact with otherinstrumentalists;

a mirror, used to assist musical posture,is shown;

coat hooks are provided adjacent to thedoor;

there is adequate space for each pupilto play an instrument withoutrestriction and where applicable, touse a music stand. For stringedinstruments, a fully extended bow isshown dotted.

21,17


Figure 2/720m2 ensemble room 2.24 Figure 2/7 and 2/8 show

ensemble rooms of 20m2 and 25m2respectively. In the smaller room a sevenpiece jazz band is performing and in thelarger, a string ensemble group is playing.A piano and a drum kit, both of which are

25m2 ensemble room often kept permanently in the ensembleFigure 2/8

18 BEST COPY AVAILABLE

room, are shown in both examples. Mostof the points made about the grouprooms apply equally here; the angled wall,hooks by the door etc. Particular pointsto note about these spaces are:

The piano is positioned to face into theroom for better group interaction.

A few chairs are shown (stacked).These can be used by instrumentalistsor an audience.

The drum kit, which can be very loud,is positioned as far away from the dooras possible.

The drum kit takes up space whether inuse (as in the 20m2 room) or not.


2.25 The recording of pupils' musicalperformances will often be part of themusic curriculum. Recordings may bemade as part of class teaching forfeedback to pupils or they may be madefor assessment purposes eg. at GCSE.Numbers will vary from a whole class toan individual. Recording may be madeusing simple recording equipment placedin the performance space itself but manyschools choose to have a separaterecording/control room which containsmore sophisticated equipment allowingteachers to mix and control sounds. Thisroom can also be used for musictechnology coursework, particularly in thesixth form.

2.26 Performances may take place in themusic classroom, group room, ensembleroom or school hall. There may be audiolinks to all these but if the keycomponents of the recording equipmentare mobile they can be taken to theperformance space itself. Recording maybe carried out by pupils or the teacherwho may also demonstrate the procedure,mainly to KS4 or sixth form pupils; suchgroups are unlikely to exceed six.

2.27 The acoustic environment of acontrol room needs to be 'dead' toensure good quality conditions formonitoring recordings over theloudspeakers (see paragraph 4.50).

This can be achieved by providingacoustically absorbent surfaces. In orderto ensure adequate sound insulation, thedetail of doors, windows and observationpanels should be carefully designed (referto 'Acoustics' in Section 4).

A Recording/Control RoomLayout

2.28 Figure 2/9 shows a recording/control room of 11m2, located betweentwo music classrooms and a group room.There are observation windows to allthree spaces to allow for visualcommunication, particularly betweenthose recording and those performing.A typical range of recording equipment,shown on a trolley, includes:

mixer with in-built tape machine;

amplifier (below the mixer);

effects unit (below the mixer).

A computer with keyboard, to be usedalongside the recording system forcreating additional sounds, is also shown.A computer may also be used for digitalrecording. There are monitoringloudspeakers at high level.

2.29 The following points about thelayout are useful to note.

As the recording equipment is placedon a trolley, it can be moved to aposition to suit the performancelocation. This also allows the equip-ment to be taken to a remote perform-ance space such as the hall.

The computer and keyboard arepositioned on one of two runs of750mm deep fixed benching which hastray storage beneath for keepingmaterial such as tapes and disks. Tallshelf units provide additional storage.

The equipment trolley can be positionedalongside the bench to enable computerand keyboard to be used in conjunctionwith the recording equipment.

The computer screen is at right anglesto the external window to avoidproblems of daylight glare.


classroom

WMRECORDING/

CONTROL11 m2composing Jr

[GalM,

classroom

grouproom

0 0.3 0.6 0.9 1.2 1.5m

There is room for a small group ofpupils to watch a demonstration.

The room is accessible from bothclassrooms.

Storage

2.30 The range of items to be stored in amusic suite can be broadly grouped thus:

reference material and work records(worksheets, musical scores, tapes,compact discs, books and files);

shared equipment (TV/video), likelyto be on trolleys;

a range of instruments. The depart-ment will have a basic stock and pupils'own instruments are brought in forextended curricular work and classlessons.

2.31 The method for storing these itemswill vary depending on the school'sapproach and whether there are separatestore rooms. Some reference material isusually kept in the classroom where it canbe easily accessed. School instruments,particularly percussion, which are used forclasswork are often kept in the musicroom where they are easily reached andcreate an inspirational display. This localstorage is allowed for in the teaching areasin Figure 1/2 and it is shown on theplans in Figures 2/3 and 2/4. In additionto this, there is a need for separate storerooms, such as a classroom store andinstrument store.

23

Figure 2/9Recording/control room layout

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Notes4 Sometimes teachers'personal reference materialand work records are kept in asecure store or in a staffoffice.

20

Classroom Store

2.32 This may house books, tapes,worksheets, and pupils' records.4Equipment such as a computer or videorecorder will move between spaces butwill probably have a parking place in astore room. Tables or screens may also bekept in here when a classroom is clearedfor performances. Within an overallstorage area of 0.3-0.4m2per workplace(see Section .1), 0.1-0.2m2 per workplaceis a useful guide to class storage. Theupper end of the range may beappropriate, for example, in a smallschool or where staging is kept in thestore room. The width of a classroomstore should be sufficient toaccommodate a trolley (for computer,keyboards etc.) in between shelving. Aminimum door width of 900mm willallow a trolley to be manoeuvred easily; aone-and-a-half-leaf door may be preferablewhere screens are kept in the store.

Instrument Store

2.33 Instruments that are not usedfrequently and pupils' own instrumentsare usually kept in a separate store room.This needs to be secure but accessible topupils for peripatetic lessons (a combin-ation lock is sometimes used). The size ofan instrument store will depend on thenumber of pupils taking up peripateticlessons, the range of instruments played,how long pupils leave their instruments atthe school and the nature of the school'sown instrument stock. Each of thesefactors varies so much between schools,that it is difficult to give specific guidanceon quantitative storage requirements. Thefigure of 0.3-0.4m2 per workplacereferred to above includes instrumentstorage but is approximate. The shape ofa store should allow for large instrumentssuch as double basses to be reached easily.The position and swing of the doorshould not obstruct shelving. Furtherdetail on storage methods is given inSection 3.

4

2.34 Figure 2/10 shows a store housinga range of instruments. Some of these willbe from the school instrument stock andothers will change daily according to therange of instrumental lessons takingplace. This store shows about 70instruments and may be applicable to amedium sized school (about 900 pupils,say). General points to note about thearrangement shown here are as follows:

The horizontal distance betweenshelving (1200mm) allows pupils tomanoeuvre instruments comfortably.

There are two depths of shelving:900mm for long instruments and700mm for smaller instruments such asflutes.

Instruments longer than 900mm areplaced at the back of the store roomwhere they cause least obstruction.

Instruments are stored at a height thatis easily reached ie. below 1700mm.Smaller instruments are kept aroundeye height, heavy instruments aroundwaist level and instruments longerthan 900mm are generally at low level.Space above 1700mm can be used forlonger term lightweight storage.

Deeper shelves (900mm) are fixed butthe shallower ones are adjustable toallow for changing instrumental stock(see Section 3).

Vertical divisions provide for uprightstorage of cellos, double basses andguitars. The cellos are not stored directlyopposite the double basses as these arethe most difficult to manoeuvre. Thedouble basses are nearest to the door.

A shallow cupboard housing itemswhich require only occasional access ispositioned next to the door.

The minimum vertical distance betweenshelves is 300mm to give pupils enoughspace to retrieve instruments safely.


-o o o o

cellos (leaning)

Plan

clarinets

1

long term lightweight storage

1 I I -1violinsrrirfin

rrriTi-InIviolas

_a--tuba

-IT -13" -13- 'Cr-IT..... -.,

tro

smalldrum

drums

timpani/other drums

doublebass(leaning)

View A: 900mm deep shelving

[

1long term lightweight storage

ong term Igfltweight storage

cellos (leaning)

01 0 0 0

flutes

clarinets

.1=7-1 =0 II 01 II 0

1 I

--TR(

o

-flifrani

-)

o

oboes.1 1

saxophonesI frenchhorn

View B: 700mm deep shelving

bassooncomets

] 1trumpets rl rn

L5

Figure 2/10Instrument store: plan andelevations

BEST COPY MIME 21


Furniture is an important consideration when designingspaces which need to adapt to the various demands ofthe curriculum. This section looks at ways of achievingflexibility through the appropriate choice and utilisationof furniture:

Notes

1 BS 4875: Strength and

Stability of Furniture, BSI

1985.2 BS 5873: Educational

Furniture, BSI 1980.

3 Educational Furniture

Database (Broadsheet 31),DFE 1994.

22

3.1 Furniture can become a resource initself if used imaginatively. For example, amobile storage unit can provide anadditional work surface, either singly or aspart of a run of units. A suite of musicrooms becomes more unified andinterchangeable if the same type offurniture is used throughout. Resourcestaken from a store room on a tray may beplaced on a trolley, moved to anunderbench tray unit, and moved again toanother room in the music suite.

3.2 It is strongly recommended thatfurniture should be built to the strenand stability tests in BS 4875' and 5873.2This ensures that furniture meets thestrength and stability requirements of aschool environment. The publication'Educational Furniture Database' explainsthe background to the British Standards forschool furniture.3

Benching

3.3 Side benching may be at sitting orstanding height; recommended heights are700mm for sitting and 850mm forstanding. A sitting height bench provides anadditional work surface which, in music,may be used for keyboard playing. Astanding height bench can also provide aworksurface for pupils to stand and playkeyboards. It is worth noting that there ismore storage capacity beneath a standingheight bench (see paragraph 3.19).

3.4 The depth of side benching is usually600mm but this does not allow pupils to sitin front of cupboards which are placedpermanently under the bench. Therefore, asitting height bench should either be deepenough (700-750mm) to allow pupils to sitin front of the cupboards, have knee holesbeneath to allow pupils to sit between thecupboards or have mobile storage which

can be moved away if necessary. This is nota problem with the higher bench whenpupils are standing.

3.5 Benching can be a fixed worktop ormade up from a series of loose tables. Thelatter may be more flexible but any fixedshelving above is not advisable (see'Shelving', paragraph 3.21).

Tables

3.6 The tables in a music room need tocater for a variety of activities and should bereasonably lightweight to allow them to bere-organised easily. The layouts in Section 2show some of the possible arrangements: ingroups for note-taldng or group discussionwork, in a horseshoe arrangement mainlyfor whole class instrumental work or clearedaway completely for a performance. Themost typical general table surface is arectangle of 1200 x 600mm. An alternativeis the trapezoidal table with maximum plandimensions of 1200 x 600mm. Trapezoidaltables offer several advantages, includingthe opportunity for basic wire management(see paragraph 3.9) and the ease with whichthey can be arranged in a curve. However,they provide a smaller surface area than anequivalent rectangular table and those withnon-standard angles tend to be more costly(Figure 3/1a shows the non-standard 15°table used in the plans in Section 2 a 30°table is standard). Nominal working heightat a table is 700mm, but it may be worthconsidering that activities such as keyboardplaying can be undertaken by playersstanding at benching, where the workingheight may be 850mm.

3.7 Tables are available in a variety offrame shapes, some of which are illustratedin Figure 3/1. Four legged frames availablewith either rectangular or trapezoidal tops(Figure 3/1a) are generally the mostcommon and often the cheapest. Astackable version is available which has oneprojecting leg (this can be limiting whenarranging groups of tables). A school maywish to consider a cantilever or 'C' framewhich when arranged in a long line allowspupils to sit at any point along the table

without the restrictions of 2 front legs (seeFigure 3/16). This means that for theoccasional full class lesson of keyboard orevaluation activities, it may be possible for2 tables to accommodate 5 pupils, ratherthan 4. The extra expense of an individual'C' framed table may, therefore, be offsetby purchasing fewer tables and releasingfloor space, particularly in a departmentwhere chair-based activities are morefrequent. 'C' frame tables can alsoincorporate additional features such as awire management tray which is particularlyuseful for computers (see paragraph 3.10).The 'I' frame table (Figure 3/1c) hassimilar characteristics; both types tend to beheavier than the standard four leggedframe.

3.8 Tables tops are generally made fromplastic laminate over a manufactured boardcore. For a subject such as music wheretables will be re-arranged frequently andrely on standing closely together(particularly for keyboard work), woodenor firmly applied plastic edging is advisableto avoid splintering or damage fromknocking.

Servicing Tables

3.9 Where tables are used for keyboardwork, there will be cables running betweensocket outlet and keyboard.4 The way inwhich tables are organised in a space can beused to minimise trailing cables. Forexample, some of the layouts in Section 2

show groupings of up to 4 standardclassroom tables in a peninsulararrangement with keyboards serviced fromthe wall. In this arrangement, cables lie ontop of the tables. The design of tables canalso be used for creating simple forms ofwire management. In Section 2, pairs oftrapezoidal tables are shown abutting thewall in such a way that a void is is created,providing a useful gathering place forcables. This means that no excess cable sitson the table, leaving it less cluttered.

3.10 There are various types of tablewhich offer wire management facilities (ie.some method of containing cables andkeeping them tidy, often a tray at the backof the table). There are also serviced tableswhich carry power in a service spine intowhich equipment can be plugged. Ifserviced tables are 'daisy chained' (where atable is serviced via a socket outletincorporated into an adjacent table) theyshould be rigidly linked together inaccordance with BS 6396.5 Thisrequirement prevents a single table beingmoved within the 'chain' and breaking thepower supply to other serviced equipment.Schools must consider whether asophisticated table system meets theircurricular and budgetary requirements. It isworth bearing in mind that the quantity ofcabling required to service a keyboard is farless than for a computer which may justify amore sophisticated wire managementsystem.

4., 27


Figure 3/1Tables and table framesa: four legged trapezoidalb: rectangular 'C framec: retangular 'I frame

Notes

4 Batteries are less often used

and are more expensive to run.

5 BS 6396: Specification forelectrical systems in office

furniture and safety screens,BSI 1989.

23


Figure 3/2Computer table

24

Computer Tables

3.11 Schools may wish to consider aspecialist table for IT. The table (or trolley)should ideally contain a cable tray, orsimilar system for wire management, toprevent trailing leads and cables fromforming a hazard. Computer tables areusually available in 1000, 1200, 1500 and1800mm widths. A useful rule of thumb isto allow 1000-1200mm for a single stationwith 1 (or occasionally 2) users, 1500mmfor a single station with 2 users and1800mm for 2 stations with 2 users.

3.12 Allowing for a working height of700mm, the work surface and front railsshould have a total thickness of no morethan 75mm to enable thigh clearance. Thework surface should allow for the flexiblearrangement of IT equipment and be deepenough to allow the keyboard to be placedin front of the VDU and for pupils to sit atleast 600mm away from the screen. A depthof 750mm is usually sufficient.

3.13 A computer table with castors (atrolley) may be useful where computers areshared between a number of spaces in amusic suite; smaller tables are often moremanoeuvrable. It is important that thecastors are lockable to ensure stability.

3.14 Where a computer is used alongsidea music keyboard, a table depth of 800mmmay be more appropriate (see Figure 3/2).Specialist trolleys, designed toaccommodate both a musical keyboard andassociated computer hardware, sometimesincorporate a sliding shelf for a musickeyboard. This shelf should be at anappropriate height for keyboard playingand of robust construction. It should bepossible to lock the shelf which is atsitting height in the extended position.

Seating

3.15 For general activities, stackableplastic moulded chairs are useful as they areinexpensive, easy to clean and lightweight.Chairs with an adjustable back and seat arepreferable when sitting at a computer; theyenable adequate postural clearance forpupils of varying sizes and allow pupils toadjust their eyeline to the correct positionin relation to the computer screen. Chairswith adjustable seats can also be useful toensure pupils are at the correct height forplaying a keyboard or certain percussioninstruments. If used in conjunction with amobile computer table, adjustable chairsshould have castors to enable them to bemoved from room to room with the trolley.

3.16 In recital rooms and largerperformance spaces, seats which are lightlyupholstered6 are recommended tominimise variation of acoustic conditionswith occupancy. Standard plastic mouldedchairs are available with an upholstered padat the seat and back. Stools are often usedby double bass players; they are morecomfortable with a shaped wooden ormoulded plastic seat and they must have afootrest. Piano stools in single or doublesize, which can be individually adjusted, aregenerally used at a piano. For playing theguitar, a footrest allows the player to raiseone knee to a comfortable position,beneath the instrument.

Storage and Display inthe Music Classroom

3.17 Display is an important part of anyclassroom and both horizontal and verticaldisplay provides visual stimulation andinformation. Display and storage in musicrooms are usually interlinked; instrumentsmay be stored in the classroom on openshelves where they also help to create anappropriate musical atmosphere. Variousmethods of providing storage and displayare described here, some of these areillustrated in Figure 3/3.

Underbench Storage

3.18 Floor standing storage units, oftenpositioned beneath a worktop, can bemobile or fixed. Units on castors are usefulfor occasions when pupils need to sit at a600mm deep sitting height side bench asthey can be temporarily moved elsewhere.Where mobile storage units are sited understanding height benches (as in Figure 3/3)they can be correspondingly higher.Moving these into the centre of the roomand against clusters of sitting height tablescan provide some discrete space division.Mobile storage units are slightly moreexpensive than those fixed beneath thebench because they have castors and a topbut the fixing cost is saved. The overall cost

needs to be considered alongside thepossible advantages of flexibility in aclassroom layout within the constraints ofthe F&E budget.

3.19 The storage of keyboards is a majorconsideration in a classroom. In some casesthey are left permanently on a side benchbut many teachers prefer to put them awayin a storeroom or classroom cupboardwhen they are not in use. A typical 1000 x480mm wide cupboard beneath a standing-height bench can accommodate threekeyboards (one per shelf). A unit below asitting height bench will accommodate twokeyboards. This assumes a distance of atleast 200mm between shelves to allow foran average sized keyboard and handclearance.

3.20 Underbench units are useful forstoring other resources in teaching andnon-teaching spaces. They can besupplied either with shelves or trays whichcan accommodate worksheets, scores andsmall percussion instruments such astriangles or castanets. Deep trays areparticularly useful for instruments. Trayshave the advantage that they slide outallowing resources to be accessed easily;they can also be removed completelyallowing small percussion instruments tobe carried to wherever they are needed.Cupboards with adjustable shelves may bemore useful for tall instruments. If bothshelf and tray units are provided, a widerange of resources can be housed. A smallplan chest may be considered for storingdisplay posters (up to A2 size).

Shelving

3.21 Shelving may be used in theclassroom for all types of resourcesincluding instruments. On all theclassroom layouts in Section 2 and inFigure 3/3, shelving is shown above afixed worktop. It is inadvisable to haveshelving above unfixed furniture whichmay be removed, as it can then become ahazard, often being at head height. Anominal depth of 250mm is considered


Notes

6 Upholstery must have an

appropriate level of fireresistance, see Building

Bulletin 7: Fire and the Design

of Educational Buildings,HMSO 1992.

25


Notes7 However, open shelving

holding objects generally

provides more sound diffusionthan closed cupboards (see

'Acoustics', Section 4).

26

appropriate for general classroom shelveswhich may be fixed or adjustable. Figure3/3 shows two adjustable systems, bothbased on a cantilevered bracket which canbe slotted into metal uprights at frequentintervals. In Figures 3/3a and 3/36, theuprights are fixed to the wall but inFigure 3/3c, they hang from any pointalong the length of a shaped metal sectionfixed horizontally to the wall at high level(rather like a picture rail). This is a veryflexible system which can also be used tosupport display boards and whiteboards(see paragraph 3.25). It may not besuitable on very lightweight walls. In boththese systems, the maximum centres ofuprights is usually 700mm, to allow areasonable span for a typical 19mm thickshelf.

Storing Headphones

3.22 Headphones are often kept close tothe tables or benches where keyboardswill be used, allowing them to be accessedeasily. Figure 3/3 shows three possiblemethods of supporting them.

Figure 3/3a. A simple and inexpensivemethod whereby headphones are hung onrobust hooks fixed to the underside ofshelving. The headphones are easy toreach but they do place some limitationson the size of objects on the shelf belowthem.

Figure 3/3b. Headphones are hung onhooks which are incorporated into acontinuous dado rail. This arrangement isparticularly appropriate where allkeyboards are placed on perimeterbenching.

Figure 3/3c. Headphones hang onhooks which are firmly screwed to a panelwhich can be hung from any point alonga horizontal metal rail (described inparagraph 3.21). Panels can be positionedto suit the room layout and are bestlocated away from circulation routes.

Other Storage Units

3.23 Tall storage units or 'wardrobes' asthey are sometimes known can provide agood level of storage space which isparticularly useful where storeroom area isminimal. These units are available with traysor shelves or a combination of the two. Aunit about 1.8-2.1m high and lm wide willhouse 6-7 keyboards, providing there areenough shelves; units usually come withmore space between shelves than isnecessary for keyboards. As congestion canoccur around a tall unit if all pupils aregetting keyboards out at the same time, theuse of lower units containing fewerkeyboards may be more appropriate. Thestability of these tall units should beconsidered and the relevant strength andstability tests adhered to.

3.24 Wall cupboards can be a moresecure alternative to open shelving.7 Wallcupboards are generally positioned at eyelevel, making smaller resources such asbooks and scores easy to access and toorganise.

Whiteboards and DisplayBoards

3.25 Whiteboards and display boards canbe wall fixed. Alternatively, the top hungsystem described in paragraph 3.21 canbe used.,Although more expensive thanfixed boards, this system does allowboards to be repositioned by the teacher.Some schools may find a mobilewhiteboard useful, particularly wherepupil sightlines are a problem. For musiclessons, it is important to have a stavedboard in addition to plain. There may betwo wall mounted boards or bothversions on a 'roller' board (mobile orwall mounted).

3.26 Display boards offset by a smallangle from the wall (eg. 50) can help tomodulate a large wall surface and break upsound waves (see 'Acoustics', Section 4).Some panels can also increase the acousticabsorption of the wall surface, dependingon their material (for example mineralwool foam with a fabric finish).

ratiggiv6pip r, -17 7 .4, w,

--: I-4-

III

` Ti 41 '

PIERIP 4111 -

-r

=Wit °[11111AIL.. I aregAmmormoYA .i

.1-111',7-06,111-1*-",.-.-,---r-.


Figure 3/3aShelving with headphonesattached under shelf

Figure 3/3bShelving with headphones onhooks at dado level

Figure 3/3cSheMng with headphones onmovable wall board

2 7


Notes8 This advantage can be seen

by comparing Figures 3/4a&b.For example in Figure 3/4b

shelving has been introduced

alongside a tall object (the

microphone) providing

optimum storage.

Figure 3/4aClasswork storage: sidesupported shelves

Store Room Shelving

3.27 Full height shelving is likely to beused in the instrument or class store. Storeroom shelves are generally deeper thanthose in the classroom; a depth of around350mm will accommodate standard trays aswell as keyboards. There are a number ofshelving systems available with varyinglevels of flexibility. Fixed shelving can besupported either by side battens or bycantilevered brackets which allow for longerruns of uninterrupted shelving. An adjustablesystem provides greater flexibility; two of themost typical systems are shown here in aclassroom store (Figure 3/4 a & b).

3.28 Side supported shelving (Figure3/4a). A free standing timber systemwhere re-locatable pegs allow shelves tobe adjusted vertically. The frame is usuallyfixed to the wall for additional stability.Some advantages of this system are:

it is easy to install;

relocatable and;

rigid.

Some disadvantages are:

the shelf width (span) is determined bythe vertical supports;

side panels can make it more clifficult toaccess certain resources.

3.29 Cantilevered brackets (Figure3/46). This system, also illustrated inFigure 3/3a&b, is a versatile systemproviding the following advantages:

it has both horizontal and verticalvariability;8

shelf widths are not standardised and canvary;

an uninterrupted run of shelving can beachieved making access easier.

The disadvantages are:

shelf depth is limited by the cantileveredsupport (generally 700mm max.);

uprights have to be fixed to the wall atfrequent intervals.

3.30 Where instruments are being stored,the storage system should have thefollowing characteristics (in order of priority):

Strength instruments can be heavy;

Flexibility the number and type ofinstruments in a school can vary overtime.

Although instruments are very varied in sizeand shape, storage systems do not have tobe sophisticated. The instrument storedescribed in Section 2 (Figure 2/10) showstwo adjustable systems: cantileveredbrackets and side supported.shelving. The

r,

1

28


00001111411Ifill77.4A11411

'gilliatiti"--1010111111.11111111

cantilevered system (as figure 3/4b) is usedalong one wall for the 700mm deepshelving where there are more horizontaldivisions. A side support system is used forthe 900mm shelves where shelf depthmakes a cantilevered system inappropriate.Brackets that fit into holes in the fixedvertical boards can be relocated, givingvertical flexibility. A similar system to thatshown in Figure 3/4a could also be used inthis situation.

3.31 Figure 3/5 shows part of theinstrument store where 700mm deepshelves are supported by cantilevered

brackets. It illustrates how the versatility ofthe system can be used to good effect whenstoring instruments. Metal uprights arefixed along the whole length of one wall;one half at 150mm centres to allow supportfor individual tall instruments and the otherhalf at 300mm centres to create a high levelof flexibility. Two sheets of manufacturedboard, securely located against the metaluprights, provide vertical divisions for tallinstruments such as cellos and guitars.Points of interest are noted on the drawing.

Figure 3/413Classwork storage: shelving oncantilevered brackets

Figure 3/5Instrument store: adjustableshelving system (700mm deepshelves)

BEST COPY AVAILABLE3 29


Notes9 As the cost of these movable

walls is high, the need for themshould be carefully assessed,

and the likely frequency of use

considered.10 See also paragraph 2.12

footnote 3.

Figure 3/6Recital room with screening forsmall group performance

Staging Systems

3.32 A stage may be created from a seriesof modular wooden staging blocks butthese are fairly heavy to move and difficultto store. For this reason there are nowmany types of demountable staging systemsavailable to schools which are lightweight,easy to assemble and take up less storagespace. However, they do require teachingtime to assemble. The advantage ofdemountable staging systems is that variousconfigurations and sizes can be created tosuit different types of performances; thesame system can be used for seating, ifappropriate. The basic module should besmall enough to ensure a good variety ofarrangements but not so small that settingup takes a long time. For simplicity, it isadvisable to buy components in a limitednumber of sizes and heights. Someexamples of staging arrangements areshown in Section 2 (Figure 2/4).

Screening

3.33 Furniture screens are a useful wayof temporarily dividing up a space, andthey can help to create a different'atmosphere' particularly when

30

performance activities are carried out.Figure 3/6 shows the 85m2 spacedescribed in Section 2 arranged for asmall group performing to the class.Classroom tables are left in place and theperformance area is defined by loosescreens which can be kept at the back ofthe room or in a store when not in use.However, it is important to note thatthese screens do not provide acousticseparation.

3.34 Furniture screens come in anumber of dimensions and finishes withdiffering connection systems. Somescreening systems allow for a number ofangled formations which have theadvantage of fitting more 'snugly' aroundfurniture or structures. The finish of somescreens is designed to be acousticallyabsorbent and this can be useful in amusic classroom. A screen with a softsurface on one side and a hard reflectivesurface on the other may provideadditional flexibility. Screens can also beused as pinboarding which can be usefulfor display purposes. Care must be takento choose screens that do not present atripping hazard when located in thecentre of a room.

3.35 To divide a space where a degree ofsound separation is required betweenactivities, it would be necessary to usefloor to ceiling screens which can beacoustically sealed these are calledmovable or operable walls. Good qualitymovable walls are effective room dividers,but the cost9 prohibits general use inschools. Curtains can also be used to.divide a space but only visually, notacoustically (see Case Study 3, Section 5).However, perimeter curtains in the formof heavy drapes enable the room acousticto be varied to suit the prevailingconditions of use.u) The use of drapes inmusic spaces is illustrated in Section 4:Applications of Principles and the effect isdiscussed further in paragraph 5.9,Section 5.

5 4


This section provides an overview of the mainconsiderations for services design in music spaces.Any services installation must comply with therelevant statutory requirements including the SchoolPremises Regulations' which prescribe minimumstandards for environmental services. There arealso a number of advisory documents, in particularDesign Note 17.2 Others are listed in this sectionand in the Bibliography.

Notes1 The Education (School

Premises) Regulations 1996.

2 In this document Design

Note 17 refers to the latestrevision due to be published as

a Building Bulletin in 1997.

3 Regulations for Electrical

Installations: IEE Regulations

1991.

4.1 As the facilities of the musicdepartment are often used by the schooland the community outside school hours,the zoning of heating and securitysystems may be desirable particularly forsuited accommodation.

4.2 It is worthwhile producing wallelevations of each music space early in thedesign process. These can be used toensure co-ordination between serviceoutlets, furniture, heating appliances,doors and windows. In almost all cases itis advisable to seek specialist advice whendesigning new or adapting existing musicaccommodation.

Electricity

4.3 Every electrical installation shouldcomply with the IEE3 wiring regulations.In a music suite the main electrical needsstem from the use of electronic keyboardsand recording pupils' musical perform-ances. The following can be used as aguide to the requirements for each roomtype but schools should consider theirparticular needs. In all spaces, it isimportant that outlet positions arechosen to avoid the hazard of trailingcables.

Music Classroom

4.4 The need will vary depending onteaching style and in particular the use ofelectronic keyboards; for a typical class of30 pupils, there may be 16 twin socketoutlets around the room for pupil useand a further six twin socket outlets at

4

the teaching base for hi-fi systems,computer, keyboard etc. In the main partof the space, most outlets are likely to bearound the perimeter above worktopheight but in a new building (or anadaptation where construction allows) itmay be advisable to install some floormounted outlets to allow keyboards to beused in the central area without havinglong lengths of cable. Tables shouldalways be placed close behind a floormounted socket to prevent cables beingdamaged.

4.5 Electronic keyboards require a lowvoltage (LV) supply and this is eitherprovided by plugs with integraltransformers or by a permanent lowvoltage installation. The size of LV plugsneeds to be borne in mind whendesigning floor boxes for socket outlets.

4.6 Keyboards should either be serviceddirectly from a wall or floor socket in theways described or via a serviced table.Loose extension leads should be avoided.Serviced tables usually come with a 2mlead which may be spiralled cable. Socketoutlets on serviced tables will be fused atthe socket with an appropriate fuse rating.

4.7 Each classroom should considerhaving a main control switch near to theteacher's base, controlling power to everykeyboard socket outlet in the classroomexcept those controlling the teacher'sequipment.

Group Rooms/EnsembleRooms

4.8 In each group room at least two twinsocket outlets on opposite walls are likelyto be required. In order to maintainsound insulation back to back recessedsocket outlets should be avoided.


4.9 This will depend on the system usedbut about eight twin socket outletslocated close to the console should besufficient.

31


32

Audio Systems

4.10 It is important that recordings areof a reasonable quality not only forassessment purposes but also to givevaluable feedback to pupils. Recordingsmay be made with simple equipment inthe performance space itself but theremay be a separate recording/controlroom (see Section 2) with a mixingconsole and audio links to all or some ofthe spaces where performances may takeplace. Where a recording system is to beinstalled, it is advisable to involve aspecialist designer or manufacturer earlyin the design process to ensure that theinstallation suits the particularrequirements of the school.

4.11 Terminal boxes in the control roomand performance space are generallymounted above bench height and shouldbe positioned to avoid trailing leads. Ifthere is a viewing window in theclassroom, an ideal location for theterminal boxes is just beneath it. Thelocation and detailing of walls and doorsto a control room must be carefullyconsidered (see paragraphs 4.24-4.32).

4.12 For playing recorded music in themain teaching space, there are usually twoloudspeakers. If a greater choice ofteacher position is desired, fourloudspeaker outlets may be provided. Agood position is at high level near theroom corners. Speaker terminal socketsshould be mounted in the area of theteaching 'wall' and out of normal reach.If loudspeakers are also linked to thecontrol room, recorded music can beplayed back to a class.

Acoustics

4.13 In schools, achieving acousticvariability is a priority, because of thediversity of teaching and learningactivities. The acoustic environment of amusic space should be good enough toallow pupils to appreciate fully their ownand others' playing whether they arelistening to and appraising a performance

6

or composing. It is therefore important togive priority to acoustic matters at anearly stage in the design process when it isadvisable to consider seeking the advice ofan acoustic consultant.

4.14 Design Note 17 (DN 17) gives therecommended acoustic criteria for newschool buildings. Other publications (seeBibliography) provide more detailedguidance. It is therefore more appropriateto cover acoustic design in general termsin this publication. This section provides achecklist of the main points to consider.There are two main aspects to a successfulacoustic environment for a room wheremusic is being played:

the sound insulation of the space fromother sources of sound that couldcause disturbance;

the quality of sound within that space.

These aspects require different designsolutions and are discussed separately.

Sound Insulation

4.15 Sounds that may cause disturbanceto the receiving room (a music class/practice room) include:

music from other spaces;

other teaching activities (eg. designand technology workshop);

people movement (eg. corridor);

playground activities;

external noise such as traffic;

building plant noise (eg. heating orventilation systems).

4.16 The level of sound and possibledisturbance from other music spaces willvary depending on the instruments bein.played (eg. a drum kit would be hard toignore) but it is difficult to organise theuse of spaces to take this fully intoaccount without loss of flexibility.

4.17 The degree to which a non-musicalsound is disturbing can depend on thenature of the sound. For example, acharacterless noise from mechanicalventilation may be acceptable whereas an

intermittent sound from passing trainsmay not be. Continuous characterlessnoise can sometimes provide usefulmasking of sound from adjacent roomswhere music-making occurs. However,the masking sound should not be so loudas to be distracting in itself.4 Ideally, toappreciate the full dynamic range of themusic, background noise levels should benear inaudibility. However, this is verydemanding on sound insulation betweenspaces and is not usually feasible inpractice. The highest level of soundinsulation is required when recording. Anappropriate level of sound insulation canbe achieved through a combination ofplanning and construction. This isdiscussed below.

Planning

4.18 At the design stage, carefulplanning can minimise disturbance fromexternal and internal sounds, for example:

locating the music department tominimise disturbance from noisesources outside and inside the school;

using sound insensitive spaces such asstore rooms or corridors as soundbuffers between music-making spaces.5

These points are also discussed inSection 1.

Construction

4.19 The main points to rememberwhen designing construction to achieveadequate sound insulation are:

sound transmission from adjacentspaces is best reduced by mass; anyweak elements (eg. poorly sealeddoors, key holes, holes for services)will reduce the effectiveness of thesound insulation.

impact sound will travel with littlereduction through a continuousmember such as a steel beam orservicing pipe.


4.20 The check list below identifies themain design principles; this is followed bymore detailed guidance on the design ofdoors and windows.

Walls between sensitive spaces tocontinue beyond ceiling to structuralsoffit.

Construction of doors (including edgedetailing and specification of anyglazing). to ensure the combined abilityof the wall and door to reduce soundtransmission is not substantially de-graded.6

External windows to be located toreduce sound travelling betweenadjacent rooms.

External windows to be designed tocontrol disturbance from outside noise.

If possible structural members shouldbe discontinuous between sensitivespaces.

Openings in walls caused by essentialservices passing through to be acousti-cally sealed.

No continuous services pipework/ductwork between music rooms unlessabsolutely unavoidable. In instanceswhere this is necessary, the pipeworkmust be appropriately boxed-in!

Doors and Windows

4.21 Sound leakage through doors andwindows will generally be greater thanthrough the walls. However, significantimprovements can be made withappropriate detailing. Suggestions for apractical approach to detailing doors,windows, and observation panels aregiven below (see also Figures 4/1-4/5).

4.22 In an existing space, it isworthwhile checking doors and windowsto establish which elements pose thegreatest leakage problems. When all theweak spots have been identified, the worstleaks should be tackled first. Doors andwindows should be acoustically sealedwhen closed it only takes a small gap to

3 7

Notes

4 See DN17 for recommended

background noise levels (an

extract is given at Figure 4/6).5 A corridor will provide amore effective buffer if thereis some treatment such as acarpeted floor or absorbenttiles to the ceiling.

6 For supervision and safety

purposes, doors to teachingspaces normally have a vision

panel.

7 For example, 2 layers ofplasterboard carefully sealedwith mineral wool/melaminefoam in void.

33


Notes

8 See also Figure 4/1 forfurther details.

9 Such as a 50mm solid core

1/2hour fire door.I° Details of acousticstandards for insulation

between rooms are given in

DN17, table lb.

34

allow sound to leak through. This hasbeen achieved when no light is visiblethrough any part of the door or frame(assuming any glazing is blanked off).

4.23 Using acoustic seals to eliminategaps is important in reducing airbornesound.

Doors

4.24 The choice of appropriate soliddoors and door seals is critical tomaintaining effective sound reduction,and controlling the transfer of soundbetween spaces. Internal doors are oftenof lightweight hollow core construction,providing only around 15dB of soundinsulation about 30dB worse than atypical maionry wall.8 In music spaces,heavier solid core type doors9 should beprovided. The insulation value of anexisting door can be improved byincreasing its mass (eg. by adding twolayers of 9mm plywood) as long as theframe and hinges can support theadditional weight. It is often simpler to fita new door.

4.25 The mass of a door is not the onlyindicator of good sound insulation: theedge detail is also important. Air gapsshould be minimised by providingcontinuous grounds to the frame whichare fully sealed to the masonry opening.There should be a generous frame rebateand a proper edge seal all around thedoor leaf. Ordinary draught excluder isnot very effective for acoustically sealingdoors; a range of proprietary acousticsealing strips are available based mainlyon neoprene sections. It is important toensure that the neoprene seal isadequately compressed but not overcompressed when the door is closed.There are various types of seals for doorthresholds including rounded neoprenetypes sealing against a raised threshold, orspring-loaded drop seals. If there is acarpet at the threshold, minimising thegap under the door to 2mm can of itselfprovide a reasonable threshold seal.

4.26 The graph in Figure 4/1 showshow the performance of a wall decreaseswith the introduction of a door and howthis varies with alternative door solutions.The diagram in Figure 4/2 summarisesthe desirable features associated with aneffective acoustic door installation.

4.27 Where a door has a vision panel, itshould be as small as possible. Glazingmay be a single sheet of 10-12.5mm glassbut in a larger panel a double glazed unitwith as large an air gap as possible may bemore suitable. The glass should beisolated from the frame by a neoprenegasket. Figure 4/3 shows an installationdetail for a door with a vision panel,satisfying the criteria illustrated inFigure 4/2.

Sound Lobbies

4.28 Where noise-sensitive spaces areadjacent to noise-producing spaces,'°particularly very noisy ones, soUnd lobbiesshould be considered ie. a double doorarrangement with a lobby in between.The greater the distance between thedoors, the better the sound insulation,particularly at low frequencies. Maximumbenefit from a lobby is associated withoffset door openings as shown in Figure4/4a. A lobby may be appropriate, forexample, between a performance spaceand a busy entrance hall. Inter-connecting doors between two musicspaces should always be avoided.

4.29 Where limitations of space precludea lobby, a double door in a single wallwill be more effective than a single door;this configuration is illustrated in Figure4/4b.

Windows

4.30 Where a music department is close toa noisy urban area it is important toconsider the sound insulation of glazing.Account must also be taken of noisebreaking out through windows andpotentially disturbing neighbouringresidents. Double glazed windows are more


Sound insulation of wall11 with

door (dB)

50

'very good'

40

'good'

30

'Poor'

1 Double doors ie. one door either side-- of a lobby (the diagonal straight line

illustrates how the insulation value ofthe original partition can only bemaintained at 100% by incorporating aset of double doors with a lobby).

Heavy door with edge seal

Light door with edge seal.....

20

eg. 100mm: stud work with plasterboardand skim both sides (no insulation)

30

eg. 2000kg/rn3 150mm 'high' densityblockwork, plastered at least one side

eg. 225mm common brick12 plastered

both sides

40 50 Sound insulation of wall without door (dB)fro.-

Any door (gaps round edges)

914mm wide

structural opening

Viewing

4-

4

rpanel

9Handle

but no

keyholes 4

Eq--,

4

Head & Jamb with single

or double seals

Generous rebate

to frame, with 15pairs heavy duty hinges

Continuous grounds and

fill to frame and opening

Threshold seal (may be

retractable type)

Solid core timber door assembly - Elevation showing how the performance of adoor assembly depends on a number of features of the construction, not just on the mass

of the door leaf.

BEST COPY AVM ABLE

Figure 4/1Reduction of sound insulationof a wall incorporating differenttypes of door.

Figure 4/2Desirable features of aneffective door installation

Notes11 For mean sound insulation

values for various partition/door combinations refer to

BS 8233: 1987.12 Values in examples given

are for illustrative purposes

only ie. they are not absolute.

35


Figure 4/3Vertical and horizontal sectionsthrough a door installation.Taken from BBC EngineeringGuide to Acoustic Practice,2nd Edition 1990.These drawings arereproduced here with the kindpermission and co-operation ofthe BBC.

36

VERTICAL SECTION

PLAN

Structural

Masticbedding

//Plaster

Archerave

18 mm x 3 mmma. flat

Sobd concrete lintel

Mastic beddMg

'Ail- Plaster

Ex 125 mm x 75 mmhardwood borne

50 nun solid door

12.5 mm float glass setn non-hardening masficor flexible channels

Either carpet onbanal underlayor carpet Nes

ufflILJ

10101117111110 willairAPIXIIII"%%10Paowill,110WPg 0,000,

Aluminium a hardwoodglazing beads

Neoprene compression sealset in aluminium extrusion

19 mm x 15 rnrn P.V.C. magnetic seal set in22 mm x 16 nim reba e fixed with 10 mm x 2 mmaluminium flat screwed to frame at 100 mm

Hardwood thresholdfixed to structure andbedded in mastic

Ex 125 min x 75 minhardwood framebedded in mastic

,au

...:...............

Pr18

pmm 3 min m.s. flat

200

38 mm aluminiumrnm cover step

or

1 1

rAdiMusic class/recital

=1.1room side 01.11111111011110Hinge

effective at keeping out sound than singleglazing of the same thickness. The biggerthe gap between panes the greater theacoustic benefit. A gap of 6mm, often usedin thermal double glazing, will not beeffective. In an existing building, secondaryglazing may be installed as an alternative toreplacing existing single glazing withdouble glazing. The effectiveness ofsecondary glazing will be determined bythe thickness of glass and the width of theair gap between the existing window andthe secondary glazing. Another alternativemay be to fit a completely new doubleglazed window on the inside of the existingwindow opening, leaving the originalwindow intact.

4 0

Observation Window to Control Room

4.31 Figure 4/5 shows a detail of a typicalcontrol room window. Two panes of heavyplate glass (of different thicknesses to avoidthe same resonances) are separated by an airgap of about 100-200mm. Such a large gapmay not always be possible but 50mmshould be considered a minimum. Eachpane of glass is mounted into a separateframe to avoid a direct sound path; this isdesirable but not essential. The glass ismounted in a neoprene gasket to isolate itfrom the wooden frame. Acousticallyabsorbent material, such as mineral woolor acoustic foam, is incorporated into thereveal to absorb any energy that enters theair gap.

C 0 kt C. 0 a

Summary

4.32 The following summarises the mainpoints of door and window design.

Doors need to be as heavy as possible,with perimeter and threshold compres-sion seals. Even a small gap can let alot of sound in or out. There shouldbe no keyholes or other penetrationsthrough the door.

Double door systems with a lobbysignificantly outperform single doors.

Mineral wool insulation, or melaminefoarn'3 packed into air gaps will help toreduce airborne sound transmission.

Windows should ideally be doubleglazed with as large an air gap aspossible. Individual panes should beisolated from their frames using asuitable glazing gasket material.

Sound Quality

The behaviour of sound in aroom

4.33 The quality of sound in a musicroom should be an appropriate balancebetween fullness of tone and clarity. Thekey factor to achieving this is thereverberation time (RT). In general termsthis is the time taken in seconds for a loudsound, when stopped, to decay toinaudibility. A long reverberation timepromotes fullness of tone but at theexpeme of clarity (individual sounds start tooverlap each other reducing the clarity). Ashort RT tends to provide clarity but at theexpense of fullness of tone; thus spaces witha very short RT can have a 'dead' quality.In general terms, a shorter RT isrecommended for speech, than for music.

4.34 Reverberation time is directlyproportional to room volume and inverselyproportional to the total acousticabsorption ie. RT increases with roomvolume and decreases with the amount ofabsorptive material. Airborne sound energyis absorbed by soft, porous surfaces such ascarpets, curtains and people. Conversely,hard, non-porous surfaces such as plastered

BEST COPY AVAILABLE


Figure 4/4a: Lobbied doorway.b: Double door.

Notes

13 Melamine foam is often

preferred for handling reasons.

Figure 4/5Section through control roomwindow

\ '

. .

,71,,_a.) 7.

-) .

i 1 riS!e I I I 13x44mm architrave

I 111 I Softwood opening lining150x38mm

. 150mm (mi) dense blockwork

. Solid concrete lintel

__ Twin 75x44mm hardwood frames

. Mineral wool or equivalent

.12mm glass in neoprenechannels to hardwood beads

6mm glass max. spacing from 12mm glass

Perforated metal lining

41 37


Notes

14 For recommended values of

RT refer to the 1997 revisedversion of DN 17. An extract isgiven in Figure 4/7. Refer toBB 51 for absorption

characteristics and method ofcalculation.

15 For definition of units taken

from DN 17 refer to Glossary II:Acoustical terms.

16 Refer to Glossary fordefinitions.

17 This includes symmetrical

shapes such as octagons

which are derived fromsquares.

38

brickwork reflect sound energy. Therefore,absorbent surfaces tend to shortenreverberation time whilst reflective surfacesprolong it.

4.35 Room design needs to achieve anappropriate balance between room volumeon the one hand, and a combination ofabsorbent and reflective surfaces on theother. Volume and room finishes are usedto optimise reverberation characteristics. Inparticular, a reverberation time calculationshould be made which will take account ofthe absorption characteristics of surfaces.mWhen necessary, suitably positionedtreatment can be applied to ameliorate theeffect of acoustically problematic roomfeatures such as barrel vaults. A traditionalclassroom with predominantly hard surfacefinishes and very limited volume is likely tocompromise the acoustic environmentrequired for the necessary range of musicalactivities.

4.36 Volume is critical to the quality ofsound in a music room and a higher thanaverage ceiling is desirable. An increase involume affects the quality of the sound (theliveliness) and modifies the loudness.Instruments played in a music room thatare normally played in a concert hall willsound very loud. It is therefore desirable tohave a ceiling height of at least 2.7m in allmusic rooms, including the group rooms.Additional absorption may be provided toreduce loudness but this will have to becarefully balanced with the need to preservea quality of liveliness which could becompromised by excessive absorption. It isworth noting that absorptivity within aspace is significantly increased by largernumbers of occupants.

. 4 2

Achieving Sound Qualitythrough Design

4.37 Four fundamental characteristics ofa successful music space are identified inDN 17 (and quoted here in boxed text).Each of these is discussed in turn.

The background noise level should besuffidently low to permit the fulldynamic range of the music to be heard.

4.38 This implies that the design willachieve low noise levels from neighbouringspaces and also from ventilation, lightingand other building services equipment.Figure 4/6 shows recommendedbackground levels for music spaces."

There should be freedom from echoes,flutter echoes, standing waves, focusingand any other acoustic effects whichconfuse or distort the sound.'6

4.39 These acoustic phenomena derivefrom room geometry. It is important toconsider both room shape andproportion. Where the distance betweentwo parallel walls coincides with or is amultiple of a particular wavelength ofsound, a standing wave can be set up andthe balance of sound is affected. Theeffect is exaggerated if distances are thesame in more than one dimension. Thusrooms which are square in plan17shouldbe avoided. Cube-shaped rooms wherethe same dimensions are repeated in avertical plane exacerbate this tendencytowards sound coloration throughstanding waves. In short it should not bepossible to express any of the roomdimensional ratios as whole numbers, eg.a proposed space 7m wide 10.5m longand 3.5m high, 2:3:1, would not beconsidered an advisable shape from anacoustic point of view. Prominentstanding waves can also be avoided byhaving non-parallel surfaces or increasingsurface absorption.

4.40 Flutter echoes which occurbetween parallel walls can be counter-acted by the introduction of an angledwall element. For this reason, grouprooms illustrated in this document showone wall at approximately 7° off-parallel.In the conversion in Case Study 1, thesame effect has been achieved by usingangled panels. Flutter echoes in thevertical plane are unlikely if there is asound absorbing surface such as a carpetor if the ceiling is sloping. Fixtures andfurniture including shelving and wallcupboards can also contribute todiffusion of sound. An interrupted run ofwall cupboards is more favourable than acontinuous run because it affordsmodelling to the wall surface.

4.41 Certain surfaces can focus soundtowards a small area and this is generallyundesirable in a school music room;specific focusing geometric forms are bestavoided. Particular causal shapes includebarrel vaulted or domed ceilings.

The reverberation time should besuitable for the activity and should beconstant over the mid to high fre-quency range. An increase of up to50% is permitted at bass frequencies.

4.42 The revised version of DN 17 givesrecommended reverberation times for arange of different teaching spaces. Figure4/7 shows an extract givingrecommended values applicable in spacesfor teaching music.

4.43 In a music classroom, the mostsuitable reverberation time varies withinthe recommended 1.0-1.2 seconds rangeaccording to the instrument; for examplea longer reverberation time, nearer thetop of the range, is desirable for choralwork. There should therefore be somefacility to vary the reverberation of thespace to suit a range of likely activitiesand instruments. Variations can beachieved effectively by the use of heavycurtains/drapes ie. at least 0.5kg/rn2 at200% gather." This device has beenincorporated in Case Study 1 (Section 5)which has a perimeter ceiling-mountedtrack installed on three sides of the room.Curtaining in group rooms can also serve

BEST COPY AVAILABLE


Room Type/Activity ActivityNoiseLevel

Background

General

Category

Tolerance

Level

General

Category

Maximum backgroundnoise level from adjacentareas, ventilation andtraffic noise L (dB)

Music rooms:

teaching, listening audio

music practice/group room

ensemble playing

recording/control room

General teaching, seminar andtutorial rooms and classbases

Assembly hall"

High

High

High

High

Average

High

Low

Low

Low

Low

Medium

Low

30

30

30

25

40

35

to modify reverberation time, attenuateloudness, and discourage standing waveswhich tend to be more noticeable in smallrooms.

Sound should be distributed uniformlythroughout the room, both in thepoformance and listening areas. It isbeneficial in this respect to model largeflat surfaces to a depth of 0.3m or more.

4.44 In general terms this means thatthe distribution of reflective andabsorptive materials should be evenlybalanced throughout the space. Largereflective surfaces ie. walls and ceilingsenhance sound distribution if they arebroken up by irregularities. In a largespace such as a school assembly hall, thismay take the form of ribs but in a moremodest space, like a music classroom, thesame effect may very often be achieved bysimple means such as providing perimetershelving.

Figure 4/6Recommended acousticstandards: background NoiseLevel. Taken from DN 17.

Notes

18 '200% gather' is sometimes

referred to as '100% fullness'.19 Halls as multifunctional

spaces also used forperformance of music and

drama.

20 Mid-frequency is the meanof the 500Hz and 1000Hzoctave band values.

Figure 4/7Recommended ReverberationTimes. Taken from DN 17.

Room Approx. size Recommended unoccupied

mid-frequencyn

Reverberation Time

(seconds)

Area (m2) Height (m)

Hall (assembly/rehearsal) 250-550 3.7-7.6 1.0-1.4

Music rooms:

music class/recital 54-91 2.7-3.5 1.0-1.2

ensemble rooms

small teaching/practice/group MOM

16-50

6-10

2.7-4.0

2.7-3.0

0.8-1.2

0.4-0.8

recording/control room 8-15 2.4-3.0 0.3-0.8

4 3 39


Notes

21 The type of carpet can have

a significant effect on theoverall RT in a room. It is

worthwhile checking the

absorption coefficent of anychosen surface finish (refer to

Building Bulletin 51).

Figure 4/8Acoustic treatment to musicclassroom

4.45 Where concentrations of absorptivematerials occur only on the floor andceiling for example in a simple solutionemploying acoustic ceiling tiles andcarpeted floor users may experience anover-emphasis on sound reflections in ahorizontal plane. A more balanced solutionwould be to adopt either carpet or ceilingtiles, and to distribute absorptive materialabout the vertical wall surfaces of the room.

Application of principles

4.46 Figures 4/8 to 4/11 show how theprinciples described have been applied tothe sample plans illustrated in Section 2.These are not complete design solutionsbecause they are hypothetical examples.In reality each case needs to beconsidered in relation to its context.

The Music Classroom

4.47 Figure 4/8 shows one of the 65m2music classrooms where a range of class-based activities will take place, involving anumber of different instruments. Theroom proportion avoids an exact square.The height is assumed to be between2.7m and 3m, creating a reasonablevolume for the activities (see paragraph

WINDOW TO CONTROLROOM DETAILED TO

PROVIDE GOOD LEVELOF SOUND INSULATION

1 SOUD CORE DOORWITH SMALL VISION PANEL

DOOR FRAME DETAILIMPORTANT

FRAMED PINBOARDS SET AT ANANGLE PROVIDE SURFACE MODELLING

TO PROMOTE SOUND DIFFUSION

SHELVING PROVIDESSURFACE MODELUNGTO HELP DIFFUSE SOUND

FULL LENGTH DRAPESUSED TO VARY ACOUSTIC RESPONSE

40

4.39 for a discussion on roomproportion). The main points to noteabout the acoustic treatment of the spaceare listed below.

In order to minimise the possibility offlutter echoes or standing wavesoccurring between opposing parallelwalls, surfaces are modelled to promotesound diffiision. On the side wall thistakes the form of shelving, assumed tobe storing percussion instruments etc.On the back wall, framed pinboards(with non-absorptive covering) are setat an angle, breaking up an otherwiseplain surface.

Full length heavy drapes along the backwall can be drawn across to vary theacoustic response of the space.

The observation window into Theadjacent control room is detailed toensure a high level of sound insula-tion between the two spaces (seeFigure 4/5).

The door into the room is of solid coreconstruction with a small vision panel(see Figure 4/3). The door and framedetail is designed to maximise thesound insulation properties of the wallas a whole.

In order to avoid an over-emphasis ofsound in one plane, the floor is fittedwith a thin pile carpet providing anabsorbent surface while the ceiling hasa hard reflective surface.il

The Music Classroom/RecitalRoom

4.48 Figure 4/9 shows one of the largerclassrooms (85m2) illustrated in Section 2.The proportions of the room are in a ratioof fractional numbers (2.6:3.8:1) with theheight in the same range as Figure 4/8.The acoustic treatment is similar to that forthe 65m2 room but as this space is larger,and bigger groups are likely to rehearse andperform here, drapes are provided on twoadjacent walls.

4 4

The Group Room

4.49 Figure 4/10 shows a typical 8m2group room which will accommodateboth instrumental lessons andcomposition groups. A range ofinstruments will be played, and groupsmay be up to 6 in number. As the soundcreated could be very loud in this smallspace, the ceiling is at least 2.7m (seeparagraph 4.36). Points to note are asfollows.

One wall is at an angle of 70 to dis-courage flutter echoes (a particularissue in small rooms) and prominentstanding waves. Window and doorreveals and coat hooks provide usefulmodelling to other walls.

A full length drape can be pulled acrossthe window to increase surface absorp-tion and reduce loudness (eg. when 5or 6 percussionists are playing).

The window is fairly small and posi-tioned in the centre of the wall tocontrol the amount of external noisereaching the space and avoid soundtravelling between adjacent grouprooms.

Floor and ceiling finishes are as thelarger rooms.

The Recording/Control Room

4.50 Figure 4/11 shows the 1 1 rn2recording/control room described inSection 2. A teacher or pupil will record amusic performance taking place in anadjacent space after which the recordingmay be heard on headphones orloudspeakers. The recommended range ofRT is 0.3 to 0.8 seconds with the lowerfigure more applicable to the controlroom function. Notable aspects of theacoustic treatment are given here.

Sound absorbing panels on the wallsbehind the speakers are used to controlstrong early sound reflections whichcould distort loudspeaker sound.

Shelving units on the window wallprovide surface modelling. Figure 4/11

Acoustic treatment to

Drapes are fitted on all three observation recording/control room


FIA.1. LENGTH DRAPESON 2 SIDES USED

TO VARY ACOUSTICRESPONSE

FRAMED PINBOARDS SET AT ANANGLE PROVIDE SURFACE MODELLING.

STORE PROVIDESSOUND INSULATIONBETWEENCLASSROOMS

MUD CORE DOORSWITH SMALL VISION PANEL

DOOR FRAME DETAILMPORTANT

SHELVING PROVIDESSURFACE MODELLINGTO HELP DWFUSE SOUND

Figure 4/9Acoustic treatment to musicclass/recital room

Figure 4/10Acoustic treatment to 8m2group room

windows. If a curtain is pulled across one

41

BEST COPY MUM


Notes

22 Ideally the effect can be

precluded by installing glazing

in one of each pair of windows

at 5° off parallel.23 Roof lights can be a security

risk. The composite designmust be carefully considered

to prevent access by intruders.

42

window, problems of flutter echoes andprominent resonances associated withtwo facing hard parallel surfaces will bereduced.22 Drapes also provide addi-tional privacy.

The external window is small tominimise disturbance from externalnoise. A venetian blind can be used tocontrol sunlight.

The floor is carpeted.

Heating and ventilation

4.51 The School Premises Regulationsstate that each teaching space should beprovided with '...controllable ventilation at aminimum rate of 3 litres offresh air persecond for each of the maximum number ofpersons the area will accommodate', with thecapability of increasing to a '...minimum rateof 8 litres offresh air per second for each ofthe usual number of people in those areas..: .

In a music room this requirement has to beconsidered in the context of achieving goodacoustic insulation and windows androoflights will need to be carefully detailed.

4.52 There may be spaces such as internalgroup rooms where mechanical ventilationis required. The need for a satisfactory levelof ventilation will have to be balanced withthe need for a suitable acoustic environ-ment (see Figure 4/6 for recommendedbackground noise levels). A system must bedesigned so that any noise produced is notof a kind to cause disturbance. For examplewhen specifying a fan, careful considerationshould be given to the inherent mechanicalnoise level. In small rooms it is possible thatan appropriate level of background vent-ilation can be achieved by the use of apassive solution such as an acoustic airbrick. In any teaching space the heating orventilation system should not producedistracting noise. However, low back-ground noise of services can sometimes beused to mask other, more intrusive noises.

4.53 Musical instruments generallybenefit from a fairly constant level ofwarmth and humidity. The drying effect ofheating on some traditional instruments inparticular should be considered, and it isadvisable to avoid overheating storerooms.In such spaces, minimal heating say to awinter temperature of 10'c is adequate tocnsurc that no condensation occurs.

Lighting

4.54 The School Premises Regulationsstate that any work surface in a teachingspace should receive a minimum of 300 luxof illumination. Design Note 17 advisesthat, as far as possible, every teaching spaceshould be naturally lit. In music rooms abalance will need to be achieved betweenthe desirability for natural light and theneed to minimise noise disturbance fromoutside. Double glazed openable units maybe the most cost effective solution.

4.55 Group rooms are small and ofteninternal but wherever possible daylight fromwindows is preferable. Rooflights23 are analternative but in small rooms a view of theoutside can relieve the possible sense ofclaustrophobia. The sound of rain onrooflights or metal roofs can also bedistracting when playing or listening toinstruments, or singing.

4.56 Most classrooms benefit fromblinds or curtains to the windows. Thesemay be used to provide a sense of privacyduring musical performances or to dimthe light when an OHP or video is beingused. Blinds can also be used to controlsunlight and in order to reduce reflectionson a whiteboard or computer screen.Heavy curtains may also provide aneconomical form of acoustic control (seeparagraph 4.43.)

4.57 The requirements for electric lightingare no different from any general teachingspace. In a music classroom some additionaldirectional lighting, possibly with somedimming facility, can be a bonus for high-lighting performers and drawing attentionto display areas. A space which is usedfrequently for formal performances, such asthe school hall, may require specialisttheatre lights.

4.58 It is worth noting that some people,particularly those sensitive to music, can bebothered by the mains hum fromfluorescent light fittings. This does notoccur with high frequency fittings which aresometimes specified for this reason. Incertain spaces such as the recording/controlroom, the sound caused by transformersused with low voltage spotlights can bedistracting.

L 4 6


This section shows the guidance given in Sections 1to 4 applied to existing schools. There are three casestudies; two are design studies for adaptations toexisting schools and one is a new building. Thenumber of pupils on roll varies from 600 to 1850 intotal and two of the schools have sixth forms. There isa cost analysis of Case Study 1 in Section 6.

Figure 5/1Case Study 1

5.1 Existing school buildings may havespaces that are less than ideal andcompromises have to be made. The twoadaptations (Case Studies 1 & 3) raisetypical issues about making choices; inboth cases priority is given to teachingarea. As these are design studies eachspace is shown totally re-furnished andre-equipped, based on the strategyoutlined in Section 2. In reality, schoolsmay wish to re-use some of their existingfurniture. The furniture for the newbuilding project (Case Study 2) is shownas it was installed.

5.2 Case Study 1 is an example of thepractical guidance given in Section 4. Itdescribes the changes made to theconstruction and finishes to enhance andimprove the acoustic environment.

Imen.amose.e.

Woodatore131112

D & TWSHOP 3

80m2

D TWSHOP 1

a: as existing

0 1 2 3 4 5n,

b: as adapted

BEST COPY AVAILABLE 4 7

Case Study 1: Adapting aDesign and TechnologySpace

As Existing (Figure 5/1a)

5.3 Case Study 1 is an 11-16comprehensive school with 600 pupils onroll. At KS3, 5% of curricular time is spenton music. The music department isconsidering expanding its GCSE groupand accommodating extended curricularwork.

5.4 The curriculum is constrained by thelimitations of the existing accommodation,a 45m2 classroom. There are no associatedsmaller spaces for composing orinstrumental teaching. The release of anexisting workshop has resulted from thereorganisation of the design and technologysuite. An overall floor area of 96m2 isavailable which includes an adjacent 13m2woodstore with independent access.

5.5 Originally the workshop was built in1954 using a prefabricated, reinforcedconCrete system of modular design havingconcrete roof panels and double skin walls;there is a wood block floor. The south-eastand north-west facades of the building arefully glazed from a sill height of about1.0m. The existing ceiling height in themain space is 3.3m. The size of the space issuitable for a music room but there aresome disadvantages with theaccommodation.

Existing floor and ceiling surfaces arehard, resulting in an unacceptably longreverberation time of 2 seconds. Stand-ing waves and flutter echoes are likelydue to parallel walls and hard surfaces.

The north-west wall abuts the schoolplaying field. The extent of glazing isexcessive and considered undesirablefrom a security point of view on a sidewith potential for intrusion.

The school playground, a potentialsource of noise, is adjacent to thesouth-east wall.

43


Figure 5/2Case Study 1: acoustic

treatment

A design and technology workshop isadjacent (although an entrance lobbyand store provide a buffer between theteaching spaces).

The building is free-standing andcirculation is external which results in anexcessive number of entrances.

The Adaptation (Figure 5/1b)

5.6 Minimal structural alterations areproposed in order to constrain costs andmaximise available funds for acoustictreatments and finishes. Within the existingarea, it is possible to provide a music roomof 65rn2, three group rooms and a store. Itis assumed that performances to anaudience or large scale rehearsals take placein the school hall. The largest group room(or ensemble room) is converted from theexisting store and can be accessedseparately, if necessary, to avoid disturbing

FULL LENGTH DRAPES

ANGLED PANELS AND SHELVINGPROVIDE SURFACE MODELLING

CARPETTO FLOORINCREASES

ABSORPTIVTTY

FULL LENGTH DRAPESCAN BE USED TO VARY

ACOUSTIC ABSORBENCY

Acousnc DOUBLEGLAZING TO INCREASE

SOUND INSULATIONFROM RAYGROUND

LOBBY INCREASESSOUND INSULATION

BETWEEN MUSICAND 132. T

ERVATIONWINDOW

ETALEDh.FOR000D

SOUND

S.ULATION,

ANGLED PANELS ANDSHELVING PROVIDESURFACE MODELLINGTO HELP DIFFUSE SOUND

FULL LENGTH DRAPES WALL AT AN ANGLE TODISCOURAGE FLUTTERECHOES AND STANDING WAVES

111011C=M11=0 1 2 3 4 5m

44

classes. The dimensions of this space arenot ideal as proportions are long andnarrow but compromise has beenaccepted and the wall treatment isdesigned to optirnise room responses. Anentrance lobby houses coats and bags andprovides additional sound insulationbetween the main space and the adjacentD&T room.

5.7 The main features of the adaptationare described below. The soundinsulation of the music classroom isconsidered a priority. The key aspects ofthe acoustic treatment and the furnishedfloor plan are shown separately for clarity(Figures 5/2 and 5/3).

Construction (Figure 5/2)

In order to improve security, glazing tothe north-west wall is removed and theopening is infilled up to two thirds of itsheight with rendered blockwork. Me-dium density block (1500kg/rn3) is usedto give appropriate sound insulation. Thetop third of each panel is thermally andacoustically double glazed with bottom-hung openable fanlights.

Angled panels of medium density particleboard are fixed to studding on the insideface of the north-west wall of the mainspace. These help to prevent standingwaves between parallel side walls and canprovide much needed display space. Thepanels are without fabric covering sincethis would compromise the high fre-quency response. Panels are omittedwhere there are shelves as these have anequivalent acoustic effect. Angled panelsare also used in the group rooms.

Secondary 'acoustic' glazing is added tothe windows to the south-east (play-ground) side, as two sliding panels. Thisallows access for maintenance and toopen casements or fanlights. Solarreflective film is added to the outsideof the existing fenestration to reducesolar gain. In a new building, analternative solution may be to incorpo-rate a fixed sunshade or 'brise soleil' atthe eaves soffit.

4 3 BEST COPY AVAILABLE

Internal doors into the music class-room, the adjacent D&T space and theensemble room are upgraded to heavysolid core doors with double seals allround including threshold seals. Doorsto the two group rooms have visionpanels for supervision with 1 Omm glass(see paragraph 4.27, Section 4).

Acoustically double glazed observationwindows are formed in the partitionwalls to the ensemble room and one ofthe group rooms.'

Fixtures and Finishes (Figure 5/2)

The existing plasterboard ceiling finish isretained; the existing wood block floorto the main space is also retained andcarpeted for acoustic reasons. Theensemble room floor has a basic under-lay and corded carpet, so that the finishis not too acoustically absorptive.

Wall finishes in the main space aresupplemented by heavy drapes of at least0.5kg/rn2 at 200% gather, providingacoustic variability and control. Thecurtain track is ceiling mounted alongthree sides of the room providingmaximum flexibility allowing curtains tobe positioned to suit the configurationof the musical activity.2

Curtains are also provided in grouprooms. In the ensemble room, they arepositioned at the south-east end of thespace, screening the doorway orbunched in the corner as required.

The Furniture Layout (Figure 5/3)

5.8 The classroom layout follows theprinciples described in Section 2 with ateaching focus at one end of the space,sufficient work surfaces for up to 30pupils and a free area for performancesand whole group gatherings. Particularpoints to note are given below.

The two whitehoards, one plain, onestaved, are on a track and can be movedto cover the observation window to theensemble room.

BEST COPY AVAILABLE


Power sockets are provided around theperimeter. Keyboard work cannot easilytake place in the centre of the space.

The space can be completely cleared, forrecitals or rehearsals, by storing the tablesin one of the group rooms.

The storage wall consists of underbenchcupboards on castors and open shelvingabove.

The store room which doubles as ateacher's base has a continuous sitting-height bench with shelves above provid-ing a work surface and place for storingpupils' records, text books etc.

Recording equipment (shown in grouproom 2) is housed on a trolley allowingit be used in more than one space.

Notes1 The method of ventilation in

group room 2, whether by

natural or mechanical means,

would need careful calculation

to achieve a balance of

adequate ventilation and

reasonable background noise

level (ref: Section 4,

'Ventilation').

2 This is useful in a school

where one classroom serves a

number of functions.

Figure 5/3Case Study 1: the furniture

layout

Note:tables can be moved to oneside (shown dotted) to clearcentral area.

LISTENING,APPRAMINO/

NOTE.TAXINO

reccontrogrouproom 25.4m2

4S 45


Figure 5/4Graph showing effect ofdrapes on reverberation timein classroom, ensemble roomand group room.

Notes3 Values are mid-frequency

mean of 500Hz and 1000Hzoctave bands measured in

unoccupied rooms.

46

Mid-frequency valuein unconverted spaceprior to adaptation

2 0^

18

16

1.4

12

10

08

06

04

02

0

10 20 30 40 50

% wall covered by drapes

Position of % Wall area

drapes covered

CLASSROOM

bunched 10%

rear wall 27%

rear and side 53%

ENSEMBLE ROOM

bunched 5%

one wall 14%

GROUP ROOM

bunched 5%

one wall 28%

Key

Classroom

Ensemble room

Group room

Resulting Room Acoustic

5.9 This design study formed the basis ofan adaptation project at the school. Oncompletion, acoustic measurements weretaken in the music classroom, ensembleroom and a group room (all whenunoccupied). Resulting mid-frequency3reverberation times are depicted in Figure5/4. This graph shows that measuredvalues are in accordance withrecommendations in DN 17 (see Figure4/7) and demonstrates the potential ofacoustic variability using drapes. Thevalues are in contrast with the measuredreverberation time in the unadapted spacewhich was in excess of two seconds. Inthe 65m2classroom it can be seen thatusing curtains effectively changes thenature of the room acoustic from that of ageneral teaching space to a music class/recital room. Because of the number ofvariables combining to affect the

reverberation time in a room includingvolume, the weight and location ofcurtains, surface finishes and furniture,the results shown here are indicative only.In this example the ensemble room at13m2 approximates to a large grouproom. The graph shows that the roomresponse conforms with therecommended RT of between 0.4 and 0.8seconds when curtains are extended. Themeasured RT with curtains bunched,shows the room response approximatingto that of a small ensemble space.

5.10 The background noise level in theunoccupied classroom measured whilstadjacent classes were in session was 29dBLA This accords with the maxi-mum recommended background noiselevel criterion of 30 dBLAcq, given inDN 17. Figure 4/6 shows correspondingfigures extracted from DN 17.

Case study 2: A Purpose-built Suite

Background

5.11 Case Study 2 is an 11-18 schoolwith 650 pupils on roll. The musicdepartment was inadequate for thecurrent curriculum and has been replacedby a new self-contained suite. There willbe a technical appraisal in a forthcomingDfEE Building Bulletin on acoustics inschool buildings (see Bibliography).

The New Building (Figure 5/5)

5.12 The timetable requirements werefor one main teaching space and onesmall room for extra curricularinstrumental lessons. These are supportedby three group rooms* and a recording/control room, all lit by daylight from sidewindows. The main features of the planare listed below.

The main space is large enough (83m2)for small performances and extendedcurricular rehearsals for choirs, bands,ensembles etc.

The ensemble room is large enough forgroups of up to about 12 pupilsdepending on their instruments (seeFigure 2/8). A drum kit could be keptin this room.

All other group rooms are 9m2, allow-ing for flexibility of use, and incorpo-rate at least one non-parallel wall.

The recording/control room has visualand audio links with the ensembleroom and audio links with the mainmusic space.

There is one store for general re-sources, which doubles as an office,and another for instruments. Coats andbags are kept in racks in the corridoroutside the classroom.

The corridor acts as an acoustic barrierbetween the ensemble room and otherteaching spaces. Non-teaching spaces arealso used as acoustic buffer zones: forexample, between the classroom andgroup room and between the controlroom and group rooms.

BEST COPY AVAILABLE


Fixed side benches on two sides of themain space are used for keyboard work.Socket outlets on other walls also allowkeyboards to be used on tables. Instru-ments can be stored in under-benchcupboards when not in use.

The nine tables in the classroom arelarger (1800 x 900mm) than average,providing enough work surface for up to36 pupils. Tables are used in the grouprooms for keyboard work.

Pianos are kept permanently in theclassroom, ensemble room and onegroup room.

Notes4 Although the ensemble room

is used primarily forinstrumental lessons, there is

flexibility of use between this

and the three smaller group

rooms.

Figure 5/5Case Study 2: the furnishedplan

47


Figure 5/6Case Study 3 as existing andas adapted

Ensemble17m2

grouproom 511m2

Case Study 3: Extendinga Large Department

As Existing (Figure 5/6a)

5.13 Case Study 3 is a large mixedcomprehensive school with 1500 pupils inyears 7 to 11 and 150 additional pupils inthe VIth form. Numbers are risingtowards a maximum of 1650 in KS3 andKS4, and about 200 are expected in theVIth form. The school's recently acquiredcommunity status provides additionalsupport to extended curricular activities,particularly those relating to the arts.

5.14 The school has a thriving musicalpopulation, with 20% of pupils takingmusic in KS4. The number of specialistteachers is approaching 4 FTE (seeGlossary I), and there are currently 1.6FTE peripatetic teachers supporting 300(20%) instrumentalists.

5.15 Existing accommodation for music(Figure 5/6a), which was purpose built in

ARE EXIT

Control9m2 office

6m2

MUSIC 188m2

MUSIC 2103m2

group MI10m2

Control10m2

DRAMA108m2

011111==.110111NIMSNIM=MC21111= \...1=1111FIRE EXIT

48

a: as existing

BEST COPY AVAILABLE

the early 1970s as part of a performingarts block, comprises two large musicclassrooms (88m2 and 103m2), anensemble space at 17m2 and two grouprooms at 10 and 11rn2; there is also asmall office and a recording/controlroom. There are no store rooms; storageis in the classroom. A dedicated dramastudio (108m2) situated in the same blockis to be relocated as part of areorganisation and redevelopmentstrategy by the school. Music lessons alsotake place in a mobile classroom.

The Adaptation (Figure 5/6b)

5.16 Figure 5/61D shows the mainchanges to the existing building includingextension (shown tinted) and adaptation.The proposal is based on a schedule ofaccommodation derived from predictedpupil numbers and curricular organisation(see Figure 5/7, the existing profile isshown alongside for comparison).

108.100.1, GROUP WOW MO WO.

groupnn 36m2

grotnfl

groupnn 18m2

MUSIC 266m2

groupon 6em2

11.151.031A liEDUCED SIZE

FIRE Dal

grouprrn 156m2

grouprrn 146m2

groupnn 136m2

grouprrn 126m2

Ensemble25m2

b: as adapted

MIA= ROOM ROL DRAW STUCCO

groupim 11/office9.5m2

grouprm 107.5m2

grouprm 97.5rn2

grouprm 8

7.5rn2

ARE EMT

GROUP MOMMN PAW OFMUSIC ROOM

noI0000ro

GROUP ROCI.RM. PART OF[ROM 6,1.0.0

0 1 2 3 4 5m


CASE STUDY 3 PROFILE Proposed Existing

space m2 space m2

School size (11-16) 1650 1500

VIth form size 200 150

Timetable periods per fortnight 50 50

2 Teaching periods KS3 (music) 99 90

2 Teaching periods KS4 30 30

2.2 Teaching periods VIth Form 30 20

FTE class music teachers 3.98 3.50

Music classroom spaces (calculated) 3.18 2.80

No. classroom spaces (rounded) 4 85 3 88 dedicated

65 103 dedicated

65 54 hutted

65

2 Frequency of use 80% 93%

Average group size: K53 30 30

Group/Practice rooms 12 2 10

(say 12 x 7m2) 84 11

Instrumental lessons at 20% of roll 370 330

1° Sessions 185 83

Total peripatetic taught time in hours 92.5 55

11 No. peripatetic spaces (calculated) 2.64 1.57

12 No. peripatetic teaching spaces (rounded) 3 2 17

(say 1 x 25m2 & 2 x 8m2) 41 (11) group room

R/Control room 1 10 1 9

Tutorial/Office 2 14 1 6

Classroom storage (at 5m2/class) 4 20 3

Instrument storage 15

Total teaching area 415 292

Teaching area/workplace 3.45 3.24

5.17 From the schedule, it can be seenthat:

the total number of music teachingperiods for the proposed increase innumbers is 159, suggesting four musicclassrooms at 80% use;

a total of 12 group rooms is consideredsufficient taking into account sixth formuse of the spaces;

the high `take-up' of instrumentallessons suggests the need for three spaces(preferably located in the building).

5.18 The solution closely matches theschedule in Figure 5/7 with someallowance for flexible use of supportspaces whether for teaching or non-teaching activity. The drama space

becomes the third music space and thenew extension the fourth. Internaladaptations provide improved supportspaces and storage is increased. Thisscheme is for a particularly large schoolwith a high level of musical activity butmany of the issues addressed apply tosmaller schools. The main buildingchanges are listed here.

The access to the suite is relocated toprovide a more direct approach to thecentre of the block.

The toilets are removed to provideadditional support space. This need isgiven priority over the advantage ofhaving toilets in the block for evening use.

BEST COPY AVMLABLE 53

Figure 5/7Case Study 3 Accommodation:existing and proposed

Notes5 ie. 3 periods/group/fortnight(6%)

6 ie. 5 periods/group/fortnight(10%)

ie.10 periods/group/fortnight(20%). There are 2 parallelgroups.9The proposed modelincorporates a new Mevelmusic technology course alsoat 20% timetabled time; someaspects of the curriculum canbe undertaken by both groupssimultaneously sharing onespace, therefore number ofperiods is shown at 30 not 40.9 See Glossary I.°Proposed sessions 30minutes, average group size 2.Existing 40 minutes, averagegroup size 4.11 An FTE peripatetic teachingweek comprises 35 hours.52 This indicates 3 peripateticspaces, but there is scope forsome use of class/grouprooms. This is indicated byscheduled frequency of use at80% and the expectation thatMevel groups will not need awhole classroom for everysession.

49


Some group rooms open directly froma classroom and others are accessed fromcirculation space. The former may beappropriate for pupils requiring closersupervision, but care must be taken indetailing the doors to ensure acousticseparation.

One of the two original classrooms isretained at 88m2 to be used as arecital/rehearsal space; this space isnearest to the main entrance for ease ofaccess by the community. The secondmusic classroom and drama room arereduced in size to around 65m2 leavingsufficient area to provide additionalgroup rooms.

The 25m2 ensemble space is intendedas the main instrumental base. It has anaccess via a small office which acts as acentral reference point for peripateticteachers and their pupils. This can bereached independently from theoutside, providing a separate approachfor instrumental teachers and scope forsmall performances. Extended curricu-lar instrumental lessons can also takeplace in one of the group roomsopening off the circulation space.

All new group rooms have non-parallelwalls to avoid multiple sound reflec-tions which can cause flutter echoesand prominent standing waves.

The recording/control room has visuallinks with two classrooms and a grouproom.

There are two tutorial offices of 6m2which can double as group rooms.

Wherever possible, storage areas areused to provide acoustic buffer zones.

50

The Furniture Layout (Figure 5/8)

5.19 The rooms are arranged accordingto the principles in Section 2. One of themain differences is the restriction imposedby the additional doors where grouprooms open directly off the musicclassroom. A particular activity is showntaking place in each of the four musicrooms but every space is flexible enoughto accommodate a range of activities. Thekey features of the four 'classroom layoutsare outlined below.

Music 1. This is the largest room and isseen as the class/recital room. The layoutshows a group performing to the class. Astage is set up and the performance area isdefined by a curtain. Unlike the layout inSection 2, the tables are concentratedalong one side of the room. A mobilewhiteboard, kept in the store during theperformance, can be positioned to suitthe activity taking place or moved toanother space if required. The staging canbe kept in the store room in place of thewhiteboard when not in use.

Music 2. The layout indicates a KS3 classappraising a small group performance.The performance can be seen andrecorded from the adjacent recording/control space.

Music 3. The room is shown set up for a1(54 performance with pupils sitting attables to take notes. The number of doorsopening off the space, compared to theplans shown in Section 2, limits thelength of available wall space andconstrains the furniture arrangement. Thelength of side benching is minimal.

Music 4. Chairs are arranged in ahorseshoe for whole class singing, orcomposition. Tables are arranged forindividual keyboard work (assuming partof the class are using group rooms). Thenumber of doors causes some limitation,as in Music 3. A mobile white board, usedhere to facilitate sight lines, is shown.

t°4


r-

1

RESEARCH/GROUP THEORY WORK

11 MUSIC 266m2

jKEYBOARD WORK

LISTENING/APPRAISING/NOTE TAXING

1 2 3 4

FIRE EXIT

5m

STORAGERKSPLAY/KEYBOARDS

COMPOSITIONGROUP

PERFORMANCE

4m2

C

st

mai .1111

LISTENINWAPPRAISING/St NOTE.TAKING

3.5m2

COMPOSING II11 MC.j control

10m2

RESEARCH/DROOP THEORY WORK

MUSIC 365m2

1

6m2

RESEARCH/ groupCOMPOSING

room 13

insftst

10m2

grouproom 1

8m2 Ensemble25m2

ENTRANCE

grouproom 11/

office9.5m2 ALT

ACCESSKEYBOARD WOKE

USTETANG/APPRAISING,NOTE-TOMO

r-; MUSIC 464m2

LfL,

RESEARCH/GROUP THEORY WORK

Note: rooflights shown dottedFIRE EXIT

BEST COPY AVAILABLE3

Figure 5/8Case Study 3 furnished layout

51


This section provides general guidance on the cost ofbuilding music accommodation in secondary schools.It also includes a cost analysis of Case Study 1 inSection 5.

Notes

1 All costs given in this Section

are at third quarter 1996national average prices.

2 Zero rating also applies to

the services of constructingramps and widening doorways

or passageways to improve

access for people withdisabilities, and to certain

items of equipment, such as

hearing loops, designed solely

for use by people with

disabilities.

52

General Cost Matters

Building Consultants' Fees

6.1 New building work, includingextensions and substantial adaptations toexisting accommodation, will normally bedesigned, procured, and supervised byprofessional building consultants.Depending on the nature of the work,this service will usually cost between 10%and 15% of the value of the buildingcontract. The fee will cover the cost ofemploying, where appropriate, architects,engineers and surveyors. There will be anadditional cost if full planning approval isrequired. The respective professionalinstitutions will supply details of theservices that can be provided as well asinformation on fees.

6.2 The value of the building contract onwhich a fee is assessed will usually includefixed furniture and fittings, eg. shelving,benching and cupboards. Care should betaken to ensure that fees are not paid onthe value of items which, whilst formingpart of the main building contract, havebeen independently designed, procuredand fixed by a specialist contractor. This isbecause the cost of providing theseservices will have been included withinthe price for the work.

Value Added Tax

6.3 Under current regulations mostschool building work will attract VAT atthe standard rate, although for LEAschool building projects any VAT payableis recoverable by the local authority.

6.4 In the case of free-standing buildingsarrd some types of extension projects atschools which have charitable status, thework is zero rated.2 Adaptations to

r 6

existing buildings, furniture andequipment and professional fees arestandard rated whatever the type ofproject. DfEE grant aid will cover theadditional burden of VAT (for the grantaided portion of the work) where payable.

6.5 As VAT can have a considerableimpact on the cost of a project, advice onits application should be sought from thelocal HM Customs and Excise Office atan early stage in the planning and designprocess.

Project Phasing

6.6 When it is necessary to considerphasing building work over a period oftime, the additional costs associated withcarrying out a number of small buildingprojects instead of a single large one willneed to be allowed for when the initialbudget is set. Funding for phasededucational projects is usually contingentupon each phase providingaccommodation that will be fullyoperational in the event of further fundsnot becoming available.

New Building versusAdaptation/Refurbishment

6.7 Constructing and fitting out acompletely new music suite building cancost between £800 and £1100' per m2 ofgross floor area provided. These costsiriclude building work, furniture,equipment, site works and professionalfees, but exclude abnormals, landpurchase costs and VAT. Factorsinfluencing the cost include briefingrequirements, standard of specification,site condition and ease of access, the sizeof the project, and whether the buildingis single or multi-storey.

6.8 The costs of adapting andrefurbishing existing buildings tend to bemore variable. They depend on thedegree to which the existing structure andservices need to be altered and on the

amount of existing furniture andequipment that is re-used. In the case ofrefurbishment requiring, for instance,only redecoration and a few extra serviceoutlets and where there is substantialre-use of existing furniture andequipment, the costs may be less than10% of the cost of new.

6.9 In larger projects involving extensivestructural remodelling and renewal ofservices and where new furniture andequipment is provided, the costs canapproach those of a new building.

6.10 Where there is a choice betweenbuilding new and adapting orrefurbishing existing accommodation, thelatter will usually provide a moreeconomic solution as not only are thecapital costs likely to be lower, the overallfloor area does not increase, henceadditional, recurrent costs will beavoided. These can cost approximately£40 per m2 of gross floor area annually.In addition, the adaptation orrefurbishment of an existing building maymake it easier to create or maintainappropriate links between existingcurriculum areas.

6.11 All projects, whether for newbuilding, adaptation or refurbishment,should be considered in the context of aschool's overall long term buildingdevelopment plan.

Temporary AccommodationCosts

6.12 Outright purchase and installationof temporary buildings fully fitted withfurniture and equipment can costbetween £360 and .£500 per m2(excluding VAT). Temporary buildingscan provide a cost effective solution to ashort term accommodation need, eg.during building work, or to accommodatea short term peak in a school's roll.However, the possible disadvantages ofusing a temporary building for musicteaching in particular include:


Location: supplementary spaces suchas group rooms may not be close by;

Reduced security: construction isgenerally lightweight and access maybe possible from all sides;

Variable and possible extremes oftemperature: heating is likely to befrom local emitters and only used whenthe space is occupied;

Acoustics: it may not be cost effectiveto provide the same level of acousticperformance as for a permanent build-ing; the walls which are generally oflightweight construction provide littlesound insulation from outside andbetween rooms.

Furniture and Equipment (F&E)

6.13 In some Local EducationAuthorities the procurement of furnitureand equipment, sometimes both fixed andloose, is managed by the authority'ssupplies organisation. As an authority-wide service its cost may not always beattributed directly to individual projects.

6.14 Procurement costs will, however,need to be taken into account in projectsat Grant Maintained and other schoolswhich do not automatically receivesupport from an LEA suppliesorganisation. In these cases it may benecessary to employ the project architector another agency to provide theprocurement service. This can cost up to6% of the value of the furniture andequipment supplied. In smaller projectsthis work is sometimes undertaken by theschool itself.

Case Study Cost Analysis

6.15 Figure 6/1 provides a model costanalysis (based on budget prices) of thebuilding work and furniture and equip-ment for Case Study 1, described inSection 5. The costs are subdivided intothe main elements together withbuilding costs per m2.

5 7 53


Figure 6/1Case study cost analysis

Building Costs

6.16 The building costs relate to thealterations necessary to refurbish theexisting workshop and include for:

minor internal demolition;

closing and forming openings, replace-ment of external and internal doors;

replacement of windows to NWelevation with rendered blockwork andnew windows at high level;

secondary double glazing to SEelevation;

new internal partitions and doors;

new floor finishes;

full redecoration throughout;

upgraded electrical installation;

independent heating system toensemble and group rooms;

acoustic treatment to internal walls;

preliminaries and contingencies.

Budget Cost Elements:

Alterations to external fabric

Internal alterations

Internal finishes

Mechanical & electrical work

Fixtures & fittings

Building Works Total

Professional fees (15% of Bldg Wks)

Loose furniture

Equipment

Cost

6,344

6,012

4,380

5,200

4,420

26,356

3,953

800

4,100

Estimated Total Project Cost 35,209

Cost

E/m2

66

63

46

54

46

275

Cost Apportionment

Loose furniture2%

Professional fees115% of Bldg Wks)

11%

Equipment12%

Alterations toexternal fabric

18%

Fixtures & fittings13%

Mechanical &electrical work

15%

Internal alterations17%

Internal finishes12%

54

6.17 No allowance has been made formaking good any defects to the buildingenvelope, although there is a contingencysum within the costings to deal with anyminor problems should they arise.

Fixtures and Fittings Costs

6.18 These include:

heavy drapes;

worktops, cupboards and shelves;

whiteboards;

all associated builders work.

Furniture and Equipment

6.19 The costs in Figure 6/1 allow fornew furniture and equipment including abasic complement of tables, chairs,equipment trolleys, keyboards and musicstands.

Cost Comment

6.20 The cost analysis highlights thesignificance of the cost of fixtures andfittings and furniture and equipment as aproportion of the overall budget. In amusic suite, acoustic treatment isnecessary but savings can be made byre-using existing furniture.

6.21 The cost of contract grade carpet isincluded as an economic and practicalchoice. Carpet tiles were not consideredsufficiently resilient in an environmentwhere frequent rearrangement of furnitureand heavy equipment occurs.

6.22 Another consideration will be thetreatment of the external fabric; in thisexample, the existing external wall area is36% glazed, presenting problems foracoustics, security, solar gain and thermalinsulation. Secondary glazing is beneficialbut consideration should be given toreducing the overall level of glazing as inthis project.

6.23 The refurbishment of existingaccommodation normally leads to lowerrecurrent costs.

S

Appendix 1: Check List of Design Considerations

The Music Suite

Range of Spaces

The following range of spaces will supportboth timetabled music lessons and extendedcurricular activities.

One or more whole class teachingspaces, to suit the number of musicteaching periods.

A series of small spaces for compositionexercises as part of class work, practiceand instrumental lessons.

A recording/control room for record-ing pupils' performances in adjacentspaces and teaching principles of musictechnology.

Storage areas for instruments, books,music scores etc.

A staff base for mainstream and peripa-tetic teachers.

Rehearsals and performances to an audiencemay take place in an ensemble room, musicclassroom, the school hall or drama studio,depending on the scale of the event.

The Location on the School Site

When looking at the location of the musicdepartment, consider the following points.

If integral with the school, it may bedifficult to provide the necessary soundinsulation (eg. from other teachingactivities). If detached, the depart-ment may feel more remote.The need for sound insulation fromoutside disturbance such as playgroundnoise or traffic must be borne in mind.

If the music department is adjacent toa related space such as the dramastudio, there can be opportunities forshared use.

The Plan

When planning the department considerthe following.

Locating all music spaces together canfacilitate interaction between teachersand more shared use of ancillary space.

Non-teaching areas such as storerooms or circulation space can be usedto provide acoustic separation betweenteaching spaces.

The recording/control room should belocated to allow visual as well as audiocontact during recordings.

Pupils and staff should be able toaccess instruments and use a room forinstrumental lessons without disturbingother activities.

Accessibility and security are particu-larly important if the suite is to be usedafter school hours.

Individual Spaces

Size of a Music Classroom

An area of 60-70m2can accommodate upto 30 pupils engaged in a wide range ofmusical activities. A space of 79-91m2can provide additional scope forrehearsals/performance.

Planning a Music Room

The furniture layout of the music roomshould be flexible and able toaccommodate:

whole class composing and performing;

small group composing and performing;

keyboard work by individuals, smallgroups and a whole class;

whole class discussion/evaluation;

a teaching focus to include the teacher'spiano/keyboard, audio system,whiteboard and control switches;

storage and display space forinstruments.

Support Spaces

A room of 6-8m2 will accommodatesmall composition groups and instru-mental lessons.

A room of 20-25m2 allows for largergroups or particular instruments.

A recording/control room of 10-15m2will contain recording equipment for thesuite and should have a high level ofsound insulation.

59 55

Appendix 1: Check List of Design Considerations

Storage

The storage of reference material andinstruments will be divided betweenclassroom, class store and instrumentstore. The last should be secure butaccessible.

Furniture and Equipment

Furniture should allow the music room toaccommodate a variety of activities easily.The following points are useful to note.

Tables should be easy to move butsufficiently robust to withstand fre-quent re-arrangement.

Tables are available in a variety ofshapes and frame types. Trapezoidaltables offer advantages of basic wiremanagement and the ability to create avariety of group formations.

Stackable moulded plastic chairs areinexpensive, easy to clean and light-weight. Adjustable chairs may bedesirable for use with computers.

If storage units are mobile, they can bemoved to provide additional horizon-tal display and work surface in themusic classroom.

A shelving system for instrumentsshould have strength and flexibility.

Demountable staging can be arrangedin a number of ways to accommodateperformances of varying size.

Pinboard can be used for display andcan, in varying ways, form part of theacoustic treatment to a music room.

Services and EnvironmentalDesign

Electricity

All installations must comply with therelevant regulations. Electronic keyboardsneed to be serviced safely andconveniently via a low voltage supplywhich may be supplied directly or viatransformers. Floor mounted boxes maybe considered.

56

Acoustics

There are two principle factors affecting asuccessful acoustic environment.

Sound insulation from other soundswhich could cause disturbance. This isachieved by planning and construction.Mass is generally the best insulant andany weak elements can reduce theeffectiveness.

Sound quality within the room itself.The two key parameters are roomvolume and surface finishes. It isnecessary to have ample room volumeto provide the required length ofreverberation ie. reverberation time.This must be co-ordinated withappropriate surface finishes. Hardsurfaces reflect sound and tend toprolong reverberation. Soft poroussurfaces absorb sound and tend toshorten reverberation.

It is an advantage to provide audio linksfrom the recording/control room to allspaces where musical performances takeplace.

Lighting

Daylight is the preferred light source in ateaching space but consider:

windows reduce the acoustic insulationof a wall;

rain on rooflights may cause disturbance.

Cost Guidance

Consideration should also be given to thefollowing:

professional fees can add a further 10-15% to the cost of new accommodation.

The local customs and excise officeshould be consulted on the question ofVAT.

The cost of a new music block can varyfrom £800/m2 to £1100/m2. Thecost of adapting existing spaces may beless than half of this.

6 0

Appendix 2: Glossary I: General terms

BUFFER ZONES: Neutral spaces such ascorridors or storerooms used to protectareas requiring acoustic insulation.

CD ROM: Compact Disc Read OnlyMemory computerised reference material.

ENSEMBLE ROOM: Group room usedfor small group performance andrehearsal particularly at GCSE level andby instrumentalists.

EVALUATION: Class or small groupassessment/feedback occurring after orduring an activity such as a performance.

EXTENDED CURRICULAR LESSONS:Lessons occurring outside normaltimetabled curriculum time.

FREQUENCY OF USE (%): The averageamount of time a space is used, expressedas a percentage of the total number ofteaching periods available.

F&E: Furniture and Equipment.

FTE: Full Time Equivalent the numberof full time teachers that equates to acombination of full and part-time teach-ers.

GROUP ROOM: Small supplementaryteaching space used in conjunction withmusic classroom for classwork composi-tion may be used for peripatetic lessonsif available.

KEY STAGES (KS): Statutory years insecondary school are divided into twophases of development. These approxi-mate to ages as follows:

KS3: ages 11-14.

1(54: ages 14-16.

LEA: Local Education Authority.

MUSIC CLASSROOM: Space to accom-modate music lessons with whole class(seated) simultaneously.

OHP: Overhead Projector.

PERFORMANCE AREA: Space used forinformal presentations often as part ofclasswork.

PERIPATETIC: In a musical context,teachers who visit the school to give vocalor instrumental lessons.

RECITAL SPACE: Space used for moreformal performances to an audience.

RECORDING/CONTROL ROOM:Space accommodating equipment used tomake sound recordings.

RECORDING STUDIO: Space whichaccommodates the musicians during arecording session.

SUITE: In this publication a suite refersto a group of same-subject rooms.

TEACHING PERIOD: Schools divide upthe week into a number of periods. Forexample 40 periods of 35 minutes.

TEACHING WALL: Wall facing the class,main teaching focus (whiteboard etc.).

VDU: Visual display unit (computerscreen).

WORK PLACE: A place to work (usuallytable surface and seat) for one pupil.

YEARS 7 TO 11: Secondary school yearsare numbered from 7 (first year) to 11(end of statutory schooling). Years 12 and13 are sometimes referred to as the sixthform.

Gi

57

Appendix 3: Glossary II: Acoustical terms

BACKGROUND NOISE: Noise from allsources other than a particular sound thatis of interest.

COLOURATION: Distortion of soundfrom an instrument or loudspeaker bystrong short delay reflections or standingwaves in a room.

ECHO: Sound that has been reflectedand arrives with such a magnitude andtime interval after the direct sound as tobe distinguishable as a repetition of it.Note: the term 'echo' is limited incommon usage to reflectiondistinguishable by the ear.

FLUTTER ECHO: A rapid succession ofechoes originating from the same soundsource.

SOUND DIFFUSION: Dispersion ofsound within a space so that there isuniform energy density throughout thespace (good sound diffusion also impliesthe lack of strong standing waves whichcan cause undesirable enhancement ofsound at certain frequencies).

SOUND INSULATION: The use ofstructures and materials designed toreduce the transmission of sound fromone room or area of a building toanother, from the exterior to the interiorof a building or between the interior andexterior of a building.

STANDING WAVES: Caused byinterference between two waves travellingin opposite directions, often betweenparallel walls. Sound pressure maxima andminima are formed which can colour theoriginal sound.

6258

Definition of acoustic terms andunits taken from DN 17.

LAcq,T The equivalent continuous A-weight sound pressure level. This is anotional steady sound which, over adefined period of time T, wouldhave the same A-weighted acousticenergy as a fluctuating noise, eg., fora 1 hour school lesson this would bedenoted LAcq, lhr

A-weighted sound pressure level,dB(A). The unit in decibels,generally used for measuringenvironmental and traffic noise. AnA-weighted network can be builtinto a sound level meter so thatdB(A) values can be read directlyfrom the meter. The weighting isbased on the frequency response ofthe human ear and has been foundto correlate well with humansubjective responses to varioussounds. It is worth noting that anincrease or decrease of approximately10dB(A) corresponds to a subjectivedoubling or halving of the loudnessof a noise, while a change of 2 to3dB(A) is subjectively justperceptible.

Decibel(dB). The decibel is a unitof sound level using a logarithmicscale.

Reverberation. The persistence ofsound within a space after the sourcehas ceased.

Reverberation time (RT). The time inseconds required for a sound to decay toinaudibility after the source ceases;strictly, the time in seconds for the soundlevel to decay 60dB (mid-frequencyvalue of RT is the mean of the values inthe octaves centred on 500Hz and 1000Hz).

Bibliography

DfEE regulations and general guidance

The Education (School Premises) Regulations1996. (Statutory Instrument 1996 No 360).London: HMSO, 1996. ISBN 0 11 054152 9.

Department for Education and Employment. The1996 School Premises Regulations. (Circularnumber 10/96). London: DfEE, 1996.

Department for Education and Employment:Architects and Building Branch. Area Guidelinesfor Schools. (Building Bulletin 82). London:HMSO, 1996. ISBN 0 11 270921 4.

Department of Education and Science. Fire andthe Design of Educational Buildings. 6thedition. (Building Bulletin 7). London: HMSO,1988. ISBN 0 11 270585 5.

Department of Education and Science: Architects andBuilding Branch. Guidelines for EnvironmentalDesign and Fuel Conservation in EducationalBuildings. (Design Note 17). London: DES,1981. ISSN 0141 2825. (Note: this documentrefers to the revised Design Note 17, publishedOctober 1997 as a Building Bulletin 87).

Devon Curriculum Advice 'Music with DevonEducation Health and Safety Offices. Health andSafety in Music Curriculum Activities. DevonCounty Council, 1995.

Furniture and equipment

British Standards Institution. EducationalFurniture. (BS 5873). Milton Keynes: BSI,1980.

British Standards Institution. Strength andStability of Furniture. (BS 4875). MiltonKeynes: BSI, 1985.

Department for Education. EducationalFurniture Database. (Broadsheet 31). DFE,1994.

Electricity

The Electricity at Work Regulations 1989.(Statutory Instrument 1989 No 635). London:HMSO, 1989. ISBN 0 11 096635 X.

Health and Safety Executive. Electrical Safety inSchools (Electricity at Work Regulations1989). Revised edition. (GS 23). London:HMSO, 1990. ISBN 0 11 8854267.

Institution of Electrical Engineers. WiringRegulations: regulations for electricalinstallations. Stevenage: IEE, 1991.ISBN 0 85296 534 6.

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Acoustics

Acoustical Society of America. Acoustical Designof Music Education Facilities. New York:Published by the Acoustical Society of Americathrough the American Institute of Physics, 1990.ISBN 0883 188104.

Barron, Michael. Auditorium Acoustics andArchitectural Design. London: E & F N Spon,1992. ISBN 0 419 17710 8.

Beranek, Leo L. Concert and Opera Halls: howthey sound. New York: Published for theAcoustical Society of America through theAmerican Institute of Physics, 1996. ISBN 156396 530 5.

BBC Engineering. Guide to Acoustic Practice.2nd edition. London: BBC, 1990. ISBN 0 56336079 8

British Standards Institution. Code of Practicefor Sound Insulation and Noise Reductionfor Buildings. (BS 8233:1987). Milton Keynes:BSI, 1987. ISBN 0 580 15874 8.

Department of Education and Science. Acousticsin Educational Buildings. (Building Bulletin51). London: HMSO, 1975.

Egan, M D. Architectural Acoustics. New York:McGraw, 1988. ISBN 0 07 019111 5.

Forsyth, Michael. Buildings for Music: thearchitect, the musician and the listener fromthe seventeenth century to the present day.Cambridge: Cambridge University Press, 1985.ISBN 0 521 26862 1.

Parkin, P H; Humphreys H.R. and Cowell, JR.Acoustics, Noise and Buildings. 4th editionLondon: Faber & Faber, 1979. 571 0452-4.

Templeton, Duncan and Lord, Peter Detailing forAcoustics. 3rd revised edition. London: E & FN Spon, 1995. ISBN 0 419 20210 2.

Forthcoming publication

Department for Education and Employment:Architects and Building Branch. Acoustics inSchools. (Revision of Building Bulletin 51).Date of publication to be announced.

Additional Educational Interest

Mills, Janet. Music in the Primary School. 2ndedition. Cambridge: Cambridge UniversityPress, 1993. ISBN 0 521 44825 5.

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