ERIC ED431293: Music Accommodation in Secondary Schools. A Design Guide. Building Bulletin 86.

66 Pages·1997·1.5 MB·English

by  ERIC

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: [phone]; Fax: [phone] (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)
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Reproductions supplied by EDRS are the best that can be made
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Music
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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