{"id":3306,"date":"2013-09-08T12:39:51","date_gmt":"2013-09-08T16:39:51","guid":{"rendered":"http:\/\/www.constructionspecifier.com\/?p=3306"},"modified":"2017-01-20T10:28:41","modified_gmt":"2017-01-20T15:28:41","slug":"planning-music-suites-for-secondary-schools","status":"publish","type":"post","link":"https:\/\/www.constructionspecifier.com\/planning-music-suites-for-secondary-schools\/","title":{"rendered":"Planning music suites for secondary schools"},"content":{"rendered":"
\"All<\/a>
All images courtesy Wenger<\/em><\/figcaption><\/figure>\n

by Denny Meyer
\n<\/strong>As with a wonderful concert performance, a successful high school music suite also requires preparation and teamwork.
\n<\/em><\/p>\n

A suite consists of rooms and areas used for music education\u2014rehearsal and practice spaces, as well as storage for instruments, sheet music, and equipment. In Santa Clarita, California, the renovation of Hart High School\u2019s music suite illustrates three key factors for success: acoustics, space planning, and storage.<\/p>\n

Laying the groundwork<\/strong>
\nAny successful project starts with a vision. Mark J. Hulme, AIA, (architect with Los Angeles\u2019 Flewelling and Moody) says the William S. Hart Union High School District\u2019s dedication to a high-quality music program was evidenced by the long history of recognition received by band director Anthony H. Bailey, other music faculty, and the student performing groups they led.<\/p>\n

\u201cThis attitude made the process of finding consensus much easier, because we are all moving toward the same goal,\u201d Hulme explains.<\/p>\n

\u201cI think it\u2019s really important to know what you want\u2014by being well-informed and by visiting many schools,\u201d says Bailey.<\/p>\n

He toured schools in California and across the country, looking at room layouts, specified materials, and equipment.<\/p>\n

In terms of the Hart High School music suite\u2019s success, Bailey credits open, ongoing communication from everyone involved. He also credits a planning guide for school music facilities developed by this author\u2019s firm.1<\/sup><\/p>\n

\u201cIt helped us convince our school board new rehearsal rooms were necessary,\u201d says Bailey. \u201cIt also brought up issues for me to consider throughout the design process.\u201d<\/p>\n

Hulme agrees.<\/p>\n

\u201cWe found the guide helpful from start to finish, for the rule of thumb guidelines on room size and cubic volume, along with information about room adjacencies and buffer zones,\u201d he adds.<\/p>\n

\"In<\/a>
In Hart High School\u2019s (Santa Clarita, California) percussion<\/span> and uniform rooms, adjustable shelving adapts to changing <\/span>needs. Wheeled carts store and transport the marching band uniforms.<\/span><\/figcaption><\/figure>\n

Proper acoustics<\/strong>
\nThe importance of good acoustics in music facilities cannot be over-emphasized. Learning music requires critical listening skills. Students must be able to hear the slightest variations in pitch, tempo, articulation, and balance. Acoustics is a multi-faceted topic with several important aspects.
\n<\/em><\/p>\n

Cubic volume<\/em>
\nFor rehearsal rooms, adequate cubic volume is the most critical element. The sounds typical music ensembles generate must have enough space to develop and blend effectively. Also, rooms that are too small can result in dangerously high sound-pressure levels, increasing the likelihood of hearing damage.<\/p>\n

Sound pressure levels are measured in decibels (dB). According to Occupational Safety and Health Administration (OSHA), 90 dB is the maximum acceptable level of noise in a workplace without hearing protection. Musical ensembles can sometimes reach an excess of 100 dB, which is why adequate cubic volume design considerations are so important.<\/p>\n

To ensure sufficient cubic volume, this rule-of-thumb should be considered: each band\/orchestra musician requires 16 to 20 m3<\/sup> (550 to 700 cu ft), while each choral musician needs 10 to 14 (350 to 500 cu ft).<\/p>\n

For a band\/orchestra rehearsal room that accommodates 60 to 75 students, the ceiling height should be a minimum of 5.5 to 6.7 m (18 to 22 ft) and the floor size approximately 232 m2<\/sup> (2500 sf). The resulting total cubic volume will be 1274 to 1557 m3<\/sup> (45,000 to 55,000 cu ft).<\/p>\n

When designing a rehearsal room to maximize cubic volume, portable risers offer advantages over permanent built-in risers, which are usually poured concrete. If the space under portable risers is left open, they do not diminish the room\u2019s cubic volume. Portable risers also expand the room\u2019s utility by offering the flexibility of a flat floor for other activities.<\/p>\n

The construction and maintenance of risers will impact footfall noise. Carpeted risers are quieter than hardboard. However, the benefits of greater room volume outweigh minor noise drawbacks.
\n<\/em><\/p>\n

\"Since<\/a>
Since room adjacencies impact sound isolation, buffer zones should be created from non-playing areas.<\/span><\/figcaption><\/figure>\n

Sound isolation<\/em>
\nSound isolation is vital to effective listening as it keeps sound-generating areas separate from each other. With inadequate sound isolation, a music suite never realizes its full potential.<\/p>\n

Walls should be full-height and sound-isolating, with an airtight seal to the building structure at both the floor and roof deck. Wall seams are a common source of sound leakage, whether at roof deck, floor, electrical outlets, or ventilation ducts.<\/p>\n

Sealed construction should be noted in specifications; an entire sound-isolating wall can be rendered ineffective by something as seemingly insignificant as a room-to-room electrical box or a gap as small as 645 mm2<\/sup> (1 si).<\/p>\n

Even with excellent construction methods, room adjacencies still impact sound isolation. Instead of rehearsal rooms sharing a common wall, buffer zones can be created between them with non-playing areas, such as offices and storage rooms.<\/p>\n

\"To<\/a>
To prevent HVAC systems from transferring sound between rooms, individual takeoff branches should feed each room from main ducts located outside the rooms.<\/span><\/figcaption><\/figure>\n

Music practice rooms<\/em>
\nJust as with rehearsal rooms, practice rooms should provide sound isolation and musically supportive interior acoustics. Unfortunately, these rooms are often the worst music spaces because they break the first rule of good acoustics: inadequate cubic volume to properly dissipate sound energy.<\/p>\n

When compared to the cost of properly constructing built-in practice rooms with good acoustics, pre-engineered practice rooms offer a cost-effective alternative. Modular rooms can provide guaranteed sound isolation and the option of future re-sizing or relocation. These rooms are heavily sound-absorbing and balance sound across a broad frequency range. Unfortunately, they are also acoustically \u2018dry\u2019\u2014the opposite environment most musicians would choose for performing.<\/p>\n

Virtual acoustic technology can remedy this situation by electronically simulating the acoustics of different performance spaces including a recital hall, various sizes of auditoriums, cathedral, or arena. The acoustical responsiveness makes practicing more realistic, effective, and enjoyable.<\/p>\n

This technology also incorporates digital record\/playback capabilities, which enables student self-critique and teacher assessment.<\/p>\n

In the Hart High School renovation, Hulme said space limitations discouraged the use of modular practice rooms. However, the acoustics technology was retrofit into one existing built-in practice room.<\/p>\n

\u201cMy students like the instant feedback and ability to change the room acoustics at the touch of a button,\u201d comments Bailey.<\/p>\n

Mechanical and lighting systems<\/em>
\nMany typical mechanical sounds that exist throughout schools can cause problems in the music suite by masking the music students and teachers are striving to create. For example, a drinking fountain\u2019s compressor noise will easily distract those trying to rehearse.<\/p>\n

Since playing music is a physical activity, the air-exchange rate within the space should be approximately double that of other classrooms. Depending on local codes, typical academic classrooms require four to eight air exchanges per hour while music rehearsal rooms require eight to 12 exchanges. Specifying larger ducts and vents with bigger grilles will help reduce potential \u2018whooshing\u2019 sounds caused by increased air volume and velocity.<\/p>\n

\"When<\/a>
When the space under portable risers is left open, they do not diminish a rehearsal room\u2019s overall cubic volume. Portable risers also enable a flat floor for other activities.<\/span><\/figcaption><\/figure>\n

HVAC systems are also notorious for transferring sound between rooms, especially practice and rehearsal rooms. The most effective solution is routing individual takeoff branches which feed each room from main ducts outside practice and rehearsal rooms. For maximum sound isolation, this ductwork should also feature an acoustically absorptive lining.<\/p>\n

While adequate lighting is essential for the music suite\u2014approximately 753 to 1076 lux (70 to 100 footcandles)\u2014certain fluorescent lighting ballasts generate a discordant hum, preventing students from tuning correctly. Solutions include quiet-rated fluorescent fixtures or placing ballasts outside the room.<\/p>\n

Balanced sound<\/em>
\nWhile safeguarding the music suite against distracting noises, it is also vital to optimize the acoustical environment for musicians.<\/p>\n

The ideal rehearsal room has the correct combination of absorption to control excessive loudness and diffusion to scatter sound, enabling musicians to hear themselves and the entire ensemble better.<\/p>\n

The sound-frequency range in the music suite is much greater than in other parts of a school, and should be accordingly addressed. Most surface finishing materials (e.g.<\/em> drapes, carpeting, or ceiling tile) are too thin to absorb powerful, low-frequency sound. These materials primarily absorb higher-frequency sounds, such as flutes and violins, and the high harmonic overtones of most instruments. As a result, the remaining low sounds\u2014tubas, string basses, and timpani drum\u2014are overpowering and indistinct.<\/p>\n

To equally absorb sound across all frequencies, acoustical consultants usually recommend a treatment of absorber panels on the walls, typically constructed of pressed fiberglass. The thicker the panels are, the greater the absorption. Wall panels should be at least 76 mm (3 in.) thick. If a suspended ceiling grid is used, 25-mm (1-in.) thick ceiling panels are recommended.<\/p>\n

While absorber panels reduce loudness, diffuser panels on the walls and ceiling help blend sound. They also prevent negative acoustical effects caused by untreated parallel surfaces, including flutter echoes or standing waves. These panels were used in the Hart music suite and improved the acoustics.<\/p>\n

\u201cThe acoustical treatment has really changed our rehearsals; my students are excited to hear the difference,\u201d Bailey explains. \u201cBand comes alive when you can move beyond learning your own part to analyzing other parts and hearing what the composer intended.\u201d<\/p>\n

Hart\u2019s acoustical panels also became design elements. For added visual interest, the architect specified custom panel colors to coordinate with the floor\u2019s semi-random pattern of carpet tiles. Such aesthetic considerations, while important in complementing the music suite\u2019s overall design, should be incorporated in the planning process without compromising the second key factor: optimizing the music suite\u2019s space plan.<\/p>\n

\"These<\/a>
These rule-of-thumb guidelines can help determine the recommended square footage and volume for the music suite, based on class size.<\/span><\/figcaption><\/figure>\n

Efficient space planning<\/strong>
\nFor the music suite\u2019s successful functioning, the following elements of the space plan should be carefully considered.<\/p>\n

Floor space<\/em>
\nMusic education is a physical activity, with instrumentalists and vocalists requiring room to move. Adequate floor space is essential; instrumentalists need room to accommodate instruments and music stands, and some vocal programs involve a large amount of choreography and movement.<\/p>\n

Equipment in the rehearsal room\u2014such as pianos, podiums, and risers\u2014also require space for use and storage.<\/p>\n

When factoring in the instruments, chairs, music stands, aisles, and storage space, each band or orchestra student requires 2.8 to 3.3 m2<\/sup> (30 to 35 sf) of floor space\u2014twice the requirement of a non-music classroom. As noted earlier, adequate cubic volume (i.e.<\/em> sufficient floor space with corresponding ceiling height) is also crucial for proper acoustics.<\/p>\n

In Hart\u2019s renovation project, the existing 149-m2<\/sup> (1600-sf) choir room was demolished and the choir moved into the 204-m2<\/sup> (2200-sf) band room. New construction included:<\/p>\n