DOCUMENT RESUME EF 005 387 ED 431 293 Watson, Lucy; Wadsworth, Alison; Nichols, Helen; Daniels, AUTHOR Richard; Marshall, Christopher; Orlowski, Rafal Music Accommodation in Secondary Schools. A Design Guide. TITLE Building Bulletin 86. Department for Education and Employment, London (England). INSTITUTION Architects and Building Branch. ISBN-0-11-271002-6 ISBN PUB DATE 1997-00-00 NOTE 65p. HMSO Publications Centre, P.O. Box 276, London, SW8 5DT AVAILABLE FROM England; Tel: 0171-873-9090; Fax: 0171-873-8200 (16.95 British pounds). Non-Classroom (055) PUB TYPE Guides MF01/PC03 Plus Postage. EDRS PRICE Acoustical Environment; Case Studies; Check Lists; DESCRIPTORS *Educational Facilities Design; Foreign Countries; *Interior Design; *Music Education; Secondary Education; *Secondary Schools England IDENTIFIERS ABSTRACT This 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 the briefing and design process. It discusses the issues that arise when considering both new and existing accommodations. The document covers the range of teaching and non-teaching spaces likely to be required, and gives guidance on planning a suite of spaces with reference to the acoustic environment. It also describes the size, shape, and planning of teaching and non-teaching spaces; gives advice on furniture used in each type of space; provides a brief guide to the mechanical and electrical servicing requirements for music spaces; and outlines some of the key points of environment design. Concluding sections provide case studies showing the application of this guidance to existing schools and general cost information and analysis using one of the case studies. Appendices include a checklist of design considerations and two glossaries. (Contains 24 references.) (GR) ******************************************************************************** Reproductions supplied by EDRS are the best that can be made from the original document. ******************************************************************************** Music Accommodation Schpols in Secondary E A Design Guide f I t r±, r.. e 1,..--,7,r ), .0 ,,,,,,./ \ ' V ..5 "k ' % 4 ) \ /' .. C ., ' * :17'jo . ... , . , -....--v- \ 45 e - ,-.. e'..<5.. 4, . \ / P, ,7 \ --\ U.S. DEPARTMENT OF EDUCATION Ofhce of Educational Research and Improvement PERMISSION TO REPRODUCE AND E UCATIONAL RESOURCES INFORMATION DISSEMINATE THIS MATERIAL HAS CENTER (ERIC) 1 BEEN GRANTED BY This document has been reproduced as received from the person or organization originating it. John Birch 0 Minor changes have been made to improve reproduction quality. Points of view or opinions stated in this TO THE EDUCATIONAL RESOURCES document do not necessarily represent INFORMATION CENTER (ERIC) official OERI position or policy. 1 Building Bulletin 86 in Architects and Building Branch BEST COPY AVA,LAB1 BUILDING BULLETIN 86 Music Accommodation in Secondary Schcools Architects and Building Branch Department for Education and Employment London : The Stationery Office Acknowledgements This publication has been prepared by the following team of DfEE Architects and Building Branch professionals: Principal Architect: Lucy Watson Senior Designer: Alison Wadsworth Senior Architect: Helen Nichols Senior Engineer: Richard Daniels Senior QS: Christopher Marshall and Acoustic Consultant: Rafal Orlowski (Amp Acoustics). The following people were also closely involved as part of a project working group: David Adams (Educational Consultant), Joan Arnold (Nottinghamshire LEA and National Association of Music Educators), HMI Janet Mills (OFSTED), Len Wardle (East Sussex LEA). Additional advice was given by Andy Murray (music project officer, NCET) and HMI David Macintosh. The Department is grateful to the staff of the three Case Study schools, for their co- operation and support as well as to all the other school staff and LEA officers who were so helpful on our many visits. The assistance of DfEE designers Christine Holdforth and John Lloyd is also - acknowledged. Crown Copyright 1997. Published with the permission of the Department for Education and Employment on behalf of the Controller of Her Majesty's Stationery Office. Applications for reproduction should be made in writing to The Copyright Unit, Her Majesty's Stationery Office, 16 Colegate, St. Clements House, 2 Norwich, NR3 1BQ 4 Contents Introduction 1 3 Section 1: The Music Suite 10 Section 2: Individual Spaces 22 Section 3: Furniture 31 Section 4: Services and Environmental Design 43 Section 5: Case Studies 52 Section 6: Cost Guidance 55 Appendix 1: Checklist of Design Considerations . 57 Appendix 2: Glossary I: General terms 58 Appendix 3: Glossary II: Acoustical terms 59 Bibliography inside back cover key to Symbols 3 Introduction It is recommended that the This publication provides guidance on accommodation requirements of music accommodation for music in secondary schools. The guidance is intended to are considered in the context of the whole curriculum and that both specialist assist all those who may be involved in advisers and building professionals, as well the briefing and design process including teachers, governors, LEA advisers and as teachers, are involved with the analysis and planning. building professionals. It discusses the issues that arise when considering both The publication begins with a broad new and existing accommodation. outline of accommodation needs with each aspect then covered in greater detail; Within the National Curriculum, music is a summary of the content is given here. compulsory in Key Stage 3 (KS3) and optional in K54. The vast majority of Section 1: The Music Suite provides a secondary schools offer music in KS4 and guide to the range of teaching and non- those with sixth forms frequently provide teaching spaces that arc likely to be courses at A and AS level. A GNVQ required. It also gives some guidance on course, which includes considerable use planning a suite of spaces including of music technology, may also be offered. reference to the acoustic environment. Teaching methods have changed significantly in the last two decades with Section 2: Individual Spaces describes the emphasis moving from whole class the size, shape and planning of teaching teaching to a mixture of whole class and and non-teaching spaces. It is illustrated small group practical work and a high by furnished layouts of typical spaces. level of individual involvement in Section 3: Furniture gives detailed performing and composing. advice on furniture used in teaching and Technological advances offer greater non-teaching spaces. access to electronic instruments and more sophisticated recording methods. Section 4: Services and Environmental Design provides a brief guide to the Schools vary in the way in which they mechanical and electrical servicing choose to deliver their curriculum within requirements for music spaces and the requirements of the National outlines some of the key points of Curriculum and this affects their environmental design. Acoustic design is accommodation needs. Local authorities '.covered in particular detail. and schools will establish their own building priorities in the light of the Section 5: Case Studies shows the funds they have available for capital work application of the guidance to existing and any conditions which may attach to schools by illustrating schemes for new these funds. They will also wish to and adapted music departments. consider any additional recurrent costs Section 6: Cost Guidance provides that may result from building work. The general cost information and a cost guidance given is not, therefore, analysis of one of the case studies. prescriptive; the information is flexible enough to be applied to a range of Appendices include a Check List of different situations. The publication Design Considerations and two Glossaries. concentrates on the needs of 11 to 16 year old pupils and there is no specific advice about pupils with special educational needs. However, the general guidance will be applicable to all secondary schools and the case studies illustrate a range of school types including those with sixth forms. 6 1 Section 1: The Music Suite Teaching Spaces This section provides an introduction to the nature of secondary school music and outlines the range of spaces that may be found in a music suite. The The Range of Spaces guidance on planning includes issues associated with 1.3 A music suite may be expected to the acoustic environment. have one or more whole-class teaching spaces supported by a series of smaller The Music Curriculum rooms. The occasional use of a space that can be used for formal performances or for rehearsals by larger groups such as the 1.1 The National Curriculum school orchestra is also desirable. Programmes of Study in music have a Depending on the nature of the .activity, strongly practical emphasis and involve this may be an assembly hall or a studio pupils in composing, performing, space that is shared with drama or dance. listening and appraising. Pupils have The range of teaching spaces can be opportunities to sing and to play a range summarised as follows. of acoustic and electronic instruments, working individually, in small groups, or A music classroom used for whole class as a whole class. Performances take place composing, listening, appraising and informally within the class or formally to performing. It can also be used for non- audiences of varying size. The recording practical work such as research and will of pupils' work is an essential element serve as a rehearsal and performance which develops their understanding and space for some extended curricular facilitates evaluation (see Glossary I). activities. However, when a class is Related activities may include listening to divided into a number of small groups live or recorded music, or group for music-making activities such as discussion. composing, the variety and level of sound can become uncomfortable in one 1.2 In addition to the timetabled classes space and pupils may have difficulty for music, many pupils have instrumental hearing their work. It is therefore or vocal lessons in school, usually taught desirable to have access to other spaces individually or in small groups by peripatetic teachers. These lessons last for nearby. 15 to 30 minutes and can take place Group rooms (or larger ensemble throughout the school day during lesson rooms) where small groups of pupils can time and break periods as well as before work on a composition for a part of the and after school. Pupils may also practise lesson. These spaces can also be used for their instruments in school in their own instrumental lessons and practice. time. The number of pupils learning an A recording/control room for instrument will vary widely between producing good quality recordings of schools. A typical figure may be 10% of pupils' performances, particularly in the numbers on roll but in some cases KS4 and post-16. this may increase to 20% or even 40% in a school with a particular music focus. There are also extended curricular Calculating the Number of activities where pupils take part in and Timetabled Teaching Spaces perform with a variety of musical groups (Music Classrooms) including brass bands, string ensembles, rock bands, steel pans, choirs or a whole 1.4 The total number of timetabled spaces school orchestra. These will vary in size needed is generated by the total number of but the largest are likely to be the choir, teaching periods. The number of teaching orchestra or big band which can exceed periods will depend on a school's 100 pupils. There may also be after- curriculum and timetabling organisation school use of the music department by including group sizes, the number of pupils the community. 7 3 Section 1: The Music Suite 10% take-up at GCSE 20% take-up at GCSE Model A No. No. No. No. School Total Spaces School f/use Total f/use Spaces Spaces Spaces Notes % % Notes KS size TP Calculated Calculated Size Rounded TP Rounded KS TP TP 600 KS3 24 600 24 KS3 Total PPW: 40 KS4 0.80 32 80% 8 80% 32 0.80 KS4 8 1 Music 1313W: 1 KS3: 2(5%) 750 30 KS3 750 30 KS3 KS4: 4(10%) KS4 low f/use 0.95 38 48% 8 46 2 low f/use 58% KS4 1.15 16 2 900 36 KS3 900 36 KS3 KS4 1.10 low f/use 44 55% 8 65% 2 KS4 52 1.30 16 2 1050 42 KS3 1050 42 KS3 KS4 50 1.25 8 63% 2 58 73% 1.45 16 KS4 2 1200 48 KS3 1200 48 KS3 KS4 1.40 70% 56 8 2 64 80% 16 1.60 KS4 2 1350 KS3 54 1350 KS3 54 1.75 KS4 70 58% 16 3 24:088% 78 65°k 24 1.95 KS4 3 1 1500 60 KS3 1500 60 KS3 KS4 1.90 16 76 63% 3 2.10 70% KS4 24 84 3 10% take-up at GCSE 20% take-up at GCSE Model B No. No. No. No. School Total Spaces f/use School Total f/use Spaces Spaces Spaces Notes KS % % Calculated Notes Size Rounded TP KS TP Calculated Size TP TP Rounded 600 36 KS3 600 36 KS3 Total PPF: 50 0.92 low f/use KS4 46 46% 46% 0.96 low f/use 10 KS4 46 2 10 Music PPF: 2 KS3: 3(6%) 750 KS3 45 750 45 KS3 KS4: 5(10%) low f/use KS4 1.10 10 55 55% 20 1.30 65% KS4 65 2 2 900 KS3 54 900 54 KS3 KS4 1.28 10 1.48 64 64% 74% 20 74 2 KS4 2 1050 KS3 1050 63 63 KS3 KS4 1.46 10 73 73% 83% 20 1.66 2 KS4 83 2 1200 KS3 72 1200 72 KS3 1.64 KS4 82 82% 10 20 1.84 61% 92 KS4 3 2 1350 KS3 1350 81 KS3 81 KS4 2.02 20 67% 30 2.22 74% 101 3 KS4 111 3 1500 KS3 1500 90 90 KS3 KS4 2.20 20 110 73% 2.40 80% 30 3 120 KS4 3 Figure 1/1 choosing music as an option in KS4 and, the current national average is around Number of spaces for 2 models in an 11-18 school, the number of pupils 10%. For the purposes of this publication, taking music in the sixth form. maximum group sizes are taken as 30 in KS3 and 24 in KS4. The increase in Key 1.5 Figure 1/1 shows the number of GCSE `take-up', from 10% to 20%, only PPW = periods per week music classrooms that are generated by = periods [Ser fortnight PPF affects the total number of spaces in one two curriculum models, reflecting typical = teaching periods TP case (model B, 1200 school). There are f/use = frequency of use situations in schools. For each model, the two reasons for this: either extra pupils = key stage KS curricular percentage is constant in KS4 can be accommodated without generating (10%) and in KS3 ranges from 5% (model Notes another group or the frequency of use of A) to 6% (model B).' The `take-up' in 1 The Dearing revision of the the space(s) is sufficiently low to allow for KS4 varies from school to school and National Curriculum is based increased timetabling. on a recommended minimum from year to year. These models show of 45 hours of music per year two options for the GCSE `take-up': 10% 1.6 The average frequency of use of the in KS3. In most schools this is and 20% of the year group. The higher spaces is shown in the table - this is the equivalent to about 5% of figure is not oftcn exceeded at present, number of periods a space is used as a curriculum time. r r 4 Section 1: The Music Suite percentage of the total number of periods available. Where rounding up to the Area of Space (m2) nearest whole number of spaces results in 100 a frequency of use over 90%, the next highest number of rooms is given. Where the frequency of use lies between 85% 37+1.8G 90 and 90% (as in Model A, 1350 pupils) two figures are given.2 The use of music spaces will be considered in the context of - 80 34+1.50 the accommodation and the number of teachers in the school as a whole and where the average frequency of use of a 70 16+1.86 space falls below about 60%, one of the spaces may occasionally be used by other 60 departments. This could occur, for example, in the 750 place school teaching 6+1.60 curriculum model A. 50 1.7 Figure 1/1 reflects the needs of an 11 to 16 school. A GCE A-level group in 40 an 11 to 18 school can usually be timetabled into one of the music classrooms or an ensemble room. Pupils will also use the group rooms and (G) 30 25 20 KS3/4 15 recording/control room (the latter in 20 (g) post 16 10 15 particular for music technology courses). Group Size: Number of Pupils In cases where the average frequency of use of the spaces is very high and the Figure 1/2 A-level group is large, an additional Area range for music Group Rooms and Ensemble ensemble room may be justified. according to group size Rooms 1.9 These rooms are used as support to The Size of Timetabled classwork and for instrumental lessons. If Teaching Spaces group a music room has access to four a class of 30 pupils can be divided rooms 1.8 Figure 1/2 shows suggested area into five small groups for practical ranges for a music space according to activities such as composing. Where there music classroom of 60- group size.3 A are two or more main teaching spaces, the (from the upper part of zone B) 70m2 ratio may be reduced depending on the will accommodate up to 30 pupils need for each music classroom to have involved in a range of practical and non- Notes simultaneous access to group rooms. practical activities. A larger space from 2 Although a high frequency of These rooms can also be used for zone D (79-91m2) will serve as a base for use of all spaces is desirable, instrumental teaching and practice. The a range of extended curricular activities it may be difficult in specialist size of such a space will range from such as choir practice or recitals, in rooms to organise the 6-8m2, depending on the type and timetable to achieve a addition to normal classroom activities. frequency of use over 85%. number of instruments involved. Rooms Such a space (sometimes called a recital 3 The graph is based on the of varying size will offer the most room) can also be used by the community formulae shown alongside, flexibility. Further detail on the size, shape as a recital/rehearsal space after school where G (or g) = group size. It and furniture layout of timetabled and hours. It is desirable to have one space of is extracted from Area supplementary teaching spaces is given in this size in every music department, part- Guidelines for Schools (BB82), DfEE 1996. Section 2. icularly where there is a strong extended curricular/community element or where access to other large spaces is limited. 5 Section 1: The Music Suite 1.10 There will be an occasional need individually and half in groups of three or for a bigger group room where 8-12 four. The overall teaching area in these pupils can work together or where larger models is 3.7-4.8m2 per work place. It is instruments can be played; this space is higher where the smaller spaces are less usually referred to as an ensemble room. It effectively used. The following criteria is common to designate one of the group have been applied. rooms as the main instrumental base that Each school has one music room which can be available for part, if not all, of the is large enough to accommodate school day for peripatetic teaching. This is extended curricular activities such as often the ensemble room which as a larger recitals or medium sized rehearsals space provides a more comfortable and (85m2). All other classrooms are large versatile environment. However, the use of enough for a range of practical and these spaces will have to be fairly flexible to non-practical activities (65m2). These accommodate the irregularities of the spaces may be shared with other peripatetic timetable and allow for varying departments where the frequency of group sizes in both composition and use is low paragraph 1.6). (see instrumental work. A space of 20-25m2 Each school has an ensemble room allows groups of up to 12 pupils to work. (20m2), primarily for instrumental The use of very large instruments or groups lessons. Larger schools have two such of instruments may need to be considered spaces to allow for the greater number of (see paragraph 2.21, Section 2). pupils likely to be taking instrumental classes (unless there is adequate 'spare' capacity in group rooms). Recording/Control Room Generally, there are four supporting 1.11 A recording/control room is a group rooms for each timetabled space containing equipment which classroom, ensuring that rooms for controls the recording of a performance composing will be available for every in this or other spaces.4A room of about timetabled lesson. In some cases the 10-15m2 will accommodate appropriate ensemble room is counted as one of recording equipment and 2 or 3 people. the four. However, where the average In class music sessions, this space often frequency of use of timetabled rooms doubles as a group room for composition falls below 60% and group rooms are work. It may also be timetabled for A- not required for instrumental lessons, a level music technology. A recording full complement of group rooms may studio, as a performance space to be used not be justified and schools may in conjunction with a control room, is choose to organise their activities to sometimes provided in more specialised suit fewer rooms. The where the cases accommodation. number of group rooms may be reduced are highlighted on the table. For the purposes of calculation, it is Schedules of Teaching Spaces assumed that almost all instrumental 1.12 Figure 1/3 shows the range of lessons take place in the ensemble spaces that may be provided for music in room with a few in the smaller group 11-16 schools. These models apply rooms as timetabling allows. In prac- mainly to new music suites but they can Notes tice there is unlikely to be a rigid also be used as a guide in adaptation 4 The room associated with a dividing line between the use of the drama space which controls projects. The number of timetabled ensemble room and other group stage lighting is often referred spaces is derived from the curricular rooms. to as the Control Room. The 'models described in Figure 1/1. A take- two control room functions up of 10% in KS4 has been shown. It is may be combined in a single assumed that 10% of pupils have room when attached to a multi- purpose performance space. instrumental lessons, half taught 10 6