DALLAS CONSERVATORY OF MUSIC

by

James Edward Harris

A THESIS

IN

ARCHITECTURE

Submitted to the Architecture Faculty of the College of Architecture

of Texas Tech University in Partial Fulfillment for

the Degree of

BACHELOR OF ARCHITECTURE

Chairman of the Committee

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Programming IMtructor (ARCH 4395): Asst. Prof. Nowak Design Critic (ARCH 4631): Asst. Prof. Nowak

Accepted

Dean, College of (Arch~­

December 19, ~

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DALLAS

CONSERV ATORY

MUSIC

To Mom and Dad -thank you

"All art constantly aspires towards

the conditions of music." -Walter Pater

CONTENTS

I. Introduction 1. Thesis Statement 2. Mission Statement 3.

II. Background Architecture and Music 4.

II I. Case Studies Images of "Frozen" Music 10.

IV. Music Education Education In the Conservatory 16.

V. Components Instruments of the Orchestra 21 . The Orchestra 29. Chamber Music 32. Choral Music 33. Electronic Music 34.

VI. Activity Analysis 36. Space List 57.

VII. Systems Performance Acoustics 58. Acoustics In the Conservatory 62. Mechanical Systems 69. Lighting 70.

VIII. Site Analysis 72. IX. Cost Analysis 8 1 . X Appendix

Glossary 84. Recommended Listening 89. Notes B i bl iography

INTRODUCTION

The Dallas Conservatory of Music is an educational facility dedicated to excellence in the field of music education. Located within the urban context of Dallas Texas, in close proximity to the Dallas Arts District, the conservatory attracts the finest students and falculty from around the country. The conservatory focuses on music training with little or no liberal education emphasis within its curriculum. Graduates of the conservatory pursue careers as proffesional musicians, working as composers, instructors and or members of metropolitan orchestras while exhibiting the highest possible skill and musical insight.

1.

It is the purpose of this thesis to communicate

the principles of composition and

representational Imagery of music through

architectural interpretation,

forms, spatial volumes and

by composing

materials of

variety and contrast to reflect musical

resonances in physical form.

2.

MISSION AND OBJECTIVES:

The Dallas conservatory of musIc will serve as

a vehicle for the architectural interpretation

of musical compositions and will ideally, be

expressive of the music that occurs there,

capturing the essence of music, its movement,

rhythms and transitions. Combinations of

transitional spatial volumes, contrasting

forms, and layers of contrasting materials will

communicate musical resonances in physical

form. Through principles of composition of

musIc and architecture, parallels will be

defined and explored in order to achieve an

architecture that becomes representational

imagery of musical compositions in such a

way that it may be described as "frozen"

musIc.

Contrasting spatial volumes of transition from

small and intimate to large and overwhelming

will be combined with varying spatial

relationships to reflect the rhythmical

transitions and accentuation of parts of

musical arrangments. Unique, non-Eucledian

geometric forms of elegant curves, sharpened

edges and angled planes will be composed to

communicate the overall movement and spirit

of musical compositions. The various layers

of contrasting instruments working as parts to

a whole in music will be reflected through

compositions of layered contrasting materials

such as sheet metals, timber, steel cables,

stone and glass. Ideally, the conservatory

will provide an environemnt conducive to

creative thinking, self expression and the

learning of music, existing as a "sanctuary" of

and for musIc within the dense unban area of

Dallas, Texas.

3.

BACKGROUND: ARCHITECTURE AND MUSIC

ARCHITECTURE AND MUSIC: PRINCIPLES OF COMPOSITION

Architecture and mUSIC are most similar in

the ways in which they are created. Parallels

between the way in which the two arts are

experienced is limited due to the fact that

while one IS aesthetically appealing visually,

the other IS appreciated aurally, and that

while one IS designed in space the other IS

created in time.

Like a language, musIc IS comprised of

contrasting elements that complement each

other once united. The musical notes inherent

to music are the "letters" of the language and

are brought together through principles of

rhythm, harmony and melody. In

architecture, materials, forms and spaces can

be thought of as the "letters" that form its

language and through the principles of

proportion. scale and composition they are

united. It is through the manipulation of

these inherent principles that the individual

languages gain their strength and through

them that parallels between the two arts can

be defined.

In musIc the design of a single phrase,

passage, section or movement of a

composition may be only a contrihuting part

to the composition as a whole. This holds true

in architecture as well. with the design of a

single space. series of spaces, forms or

composItIons of forms within a building

relating as parts to a whole. The composer

must find the right notes in the right order to

achieve a satisfying composition just as the

architect must unite forms and spaces with

appropriate relationships to achieve his

design.

The materials, forms and spaces of

architecture are brought together to fill a

quantity of space in such a way that rhythm

is set up. Similarly, in music. sounds of

varying pitch. quality and volume are brought

together t() divide time into rhythm.

As a property of rhythm in music, measure

can be considered as one element of a lar),!er

rhythmical pulsation or more precisly. as a

time interval either between two actions or

from the beginning to the end of a series of

actions. The term Measure relates most

closely to the meanIng of proportion ll1

4.

architecture as the relationship of a part or

space to another in size, shape or weight.

If the notes of any tune are played without

regard to either their duration or degree of

accentuation they become meaningless and

serve only to show "how sour sweet music is

when time is broke and no proportion kept." 1

It is without proportion that architecture also

becomes incongruent.

Music is made up of combinations of silences

as well as sounds, just as architecture is

comprised of combinations of mass and void.

Silences in music are known as rests and are

as important as notes. They belong to the

rhythm of the tune and the continuous pulse

of the music can be felt through them.2 Void

or space within architecture is as integral a

part as rests are within music, it is through

the spaces and their relationship to the

massing that the architecture is experienced. Repitition has essentially the same meaning in musIc as it does 10 architecture. It IS important to the structure of musical compositions as well as architectural ones. Reoccuring beats or measures help set up relationships between parts just as columns or structural bays do in architecture. Its

importance to the aesthetic aspects of either art is apparant in repititive notes and melodies and materials and forms.

" ... in harmony I began to learn the skills that make music go. Without them music is awkward and clumsy. like a dancer who keeps stumbling. "-Philip Glass

Harmony 10 architecture and 10 musIc IS

essentially the difference between accord and

discord. Once relationships of parts to the

whole and proportion are set up, harmony is

said to exist within the architectural

composition. It becomes a composition

comprised of harmonious relationships

between colors, materials, forms and spaces

and is described as being in harmony. While

this is also true in musical compositions, with

combinations of contrasting tones, chords. and

instrumentals working together, the term

harmony, as distinguished from melody and

rhythm, has a more specific meaning and an

inherent role in the making of music. It IS

defined as the correspondence of two or more

different musical tones sounded at once. The

combinations of these musical tones makes up

the vertical structure of musical composi tions

the moment one harmony follows another.

5.

The simultaneous sounding of several tones

may be pleasant to varyIng degrees.

Consonance and disonance are pleasant and

unpleasant musical tones and the foundations

of harmony in music. Consonance represents

the element of normalcy, stability and repose

whi Ie disonance is the element of disturbance

and tension. Combining notes and chords of

consonance and disonance sets up alternating

degrees of tension and relaxation in mUSIC,

helping ensure a dynamic energy from

beginning to end within the composition. This

principle of contrast holds true for

architecture as well. The organization of

forms and spaces In architectural

compositions may be combinations of

symetrical and juxtiposed or balanced and

unbalanced positioning, which sets up varying

degrees of stability and instability. helping

the composition remain dynamic throughout.

Melody is a succession of musical tones, as

opposed to harmony which has been

descri bed

Together,

as tones

distinct

sounded simu Itaneously.

and inseperable. they

represent a generating and controlling force.

fig. 1 Amphlon, the mythical Inventor of music, building the walls of Thebes.

6.

Individual melodies or strands move

horizontally within a composition while the

intervals occuring between them are

harmonies working vertically.3

A simple analogy of this structuring In

architecture would be the way In which forms

and spaces are composed and experienced.

Forms and spaces in multi-level architectural

compositions work together horizontally and

vertically and are experienced in this way as

spatial volumes connect throughout.

As a melody works horizontally through a

musical composition it moves as a progression

through the individual tones of the scale or

through chords (chords being multiple tones

sounded together.) This movement is known

as scalar and chordal progressions. A scalar

progressIOn could be percei ved as an

architectural composition comprised of

separate individual forms each containing an

individual space. Spaces that are grouped

together and contained within larger forms

wou ld relate to chordal progressIOns.

Moving as progressions, parts of melodies are

emphasized throughout a piece of music by

varying degrees of volume or loudness and

softness. This accentuation of parts is known

as dynamics and is what brings the music to

the audience in varying degrees of violence:-l

Architecture that IS experienced through

spaces that are organized as transitional

volumes from small and confining to large

and overwhelming, relates to the principle of

dynamics in music through varying degrees of

small and large spatial volumes.

The composer unites the principles of rhythm.

harmony and melody through orchestration,

where he combines the various instruments

of the orchestra in accordance with their

individual properties of range, tone qualities

and loudness. 5 The architect works in the

same manner when uniting various materials.

He must know the strengths and limitations of

each material just as the composer knows the

instruments of the orchestra.

Once the instrumentation is combined with

the order of rhythm. multiple vOIces of

harmony and succesive movement of melody,

the musical composition communicates its

own individual texture. A pIece of

architecture will communicate a spirit all its

own once pleasing relationships between

7

forms and spaces are established and

appropriate materials are incorporated.

Aside from the principles that enable the two

arts to exist, parallels between types or kinds

of architecture and specific forms of music

such as fugues, etudes or suites can be

defined. A fugue is a musical composition of

chasing melodies in which a theme is sounded

at the beginning by one part, then repeated

by another, and another, and still another,

until all have entered, each apparantly racing

away from the one that follows. 6

Architecturally this might be a building that

calls out a specific element or material at its

entry then recalls it In different ways

repeatedly throughout the building. The

architecture might be one of juxtiposed

elements that create a sense of movement or

flight between forms and reflect each other

throughout.

An etude is a musical composition written as

an instrumental that is designed to illustrate a

problem or difficulty in the technique of a

particular instrument. 7 This might be found

In architecture as the study of a specific

material or structural principle. A specific

material such as concrete might be chosen to

be the sole material of a building and utilized

throughout in many new and different ways

or a cantilever system might be used as the

structural system for a building, and compose

planes of various sizes and proportions.

The suite, another musical form, is one that

combines a number of different movements

throughout a musical piece that do not seem

to have any likeness or similarity to each

other aside from being in the same key. 8 An

architecture of this nature might be a

composi tion uti I izi ng a wide variety of

materials or forms of different languages with

the only relation between them being that

they enclose the same spaces and compnse

the same building.

Contrapuntal compositions, or part musIc IS a

form that breaks a musical piece down.

separating it into its basic structure of

horizontal melodies and vertical harmonies.<)

An architecture that revealed its basic

structural components and the connections

between them could be analogous to this kind

of musical composition.

8.

"Music is immediate, it goes on to bccome."-W.H. Auden

Architecture and music have experienced a

similar evolution. Today architecture, like

mUSIC, IS compositionally and structurally

more complex than ever. Combining a wide

variety of modern materials, architecture

comprises complex shapes derived from basic

Eucledian geometry and structural forms that

have evolved from simple temple structures

of ancient times. Utilizing electronic musical

notation, compOSitIOn and instrumentation,

the music of the symphony, which has grown

'lUt of tunes to which early peoples danced or

marched, IS also ever-increasing In

complexity. Their languages have been

greatly extended and become infinitly richer,

yet the elements and principles that govern

their existance remain the same.

9.

CASE STUDIES: IMAGES OF "FROZEN" MUSIC

MIZOE-2

Project Mizoe-2 IS a residence in Tokyo Japan

designed by architects Hiromi Fujii and

associates. Its two levels comprise a garden

atrium, three bedrooms and an art studio.} 0

The 2,000 square foot residence IS comprised

of juxtiposed grids and planes penetrated by

vanous square openings on the grid's

surfaces. The open squares on the grids are

sub-units of the grid planes themselves and

as an analogy to measure in music, can be

seen as the smaller elements of the larger

rhythmical pulsation. Spaces within the

house penetrate the grid planes and like the

planes themselves, are juxtiposed. qeating a fig. 3 Plan.

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composition of elements that seem to push

and pull one another. The grid elements that

comprise the house are of a strict rectilinear

order yet their juxtipositions and

intersections create a sense of freedom and

melodic, rhythmical movement. Music is the

same way, in that it sounds as though there is

a great deal of freedom within its strict.

measured order. Through the many openings

tn the planar elements shadows accentuate

forms and elements of the house. emphasizing

layers and textures. Notes of a musical

composition are accentuated much the same

way. Accents give individual notes

promtnence and help define the overall

texture of a musical piece. fig. 5 Axonometric.

11.

-,

TROIS LABORATORY

The images shown here are those of a

materials study by Jean Paul Morel for the

Trois Laboratory in Paris, France. Morel

proposes different layered combinations of

contrasting materials In the 14,000 square

foot research facility. The simple square lab

spaces are arranged axially along a central

corridor. 1 1 Like a composer employing the

art of orchestration, uniting a variety of

contrasting instruments In a musical

composition, Morel combines a variety of

contrasting materials. He composes with a

pallete of monochromatic sheet metals,

fig. 6 Elevation.

timber, quarried stone, steel and glass. The

materials work in unison. strengthening the

five individual square forms as seperate

identifiable components while relating them

to the building as a whole. It is the principlaf

counterpoint in music that joins two or more

different, often contrasting music lines that

compliment each other while preserving their

own identities. The material compositions can

also be compared to that of a fugal

composition in music in which a theme is

sounded at the beginning and repeated

throughout in a melodic chase. Morel, in the

first series of elevations, repeatedly calls out

a black linear element differently throughout.

12.

In the second serIes he combines riveted steel

elements in horizontal and vertical directions

from beginning to end. The third series of

elevations organizes materials and elements

in relation and its sub-units. The dynamic

movement within the contrasting textures

relies upon the smaller juxtiposed elements

that punctuate or accentuate the assemblages.

fig. 7 Elevation.

fig. 8 Section.

13.

VITRA DESIGN MUSEUM

Frank Gehry's Vitra Design Museum In Paris,

France is a showplace for art and furniture

pieces by famous architects and designers

such as Reitweld, Breuer, Le Corbusier, Wright

and Saarinen. The 31,000 square foot

museum combines unique forms and gallery

spaces of various sizes. 1 2 Skylights and

unIque fenestration provide interesting

natural lighting conditions and emphasize

spatial volumes and their flowing transItIOns.

The composition of elements comprising the

museum tS one of juxtipositions and

assymetrical relationships. Appearing as if in

a state of dischord, the building's forms relate

proportionally with varying degrees of

balance. The museum's composition and the

dynamic relationships between its forms is an

example of the principles of consonance and

disonance in music coming to play In

architecture. Just as combined notes and

chords of consonance and disonance set up

alternating degrees of tension and relaxation

in music, it is the combination of balanced

and unbalanced positioning that sets up the

varying degrees of stability between the

forms and spaces of the museum. The

14.

varying spatial volumes are transitional

throughout, flowing from small to large.

Moving through the tranisitional spaces of the

museum can be compared to experiencing the

varyIng degrees of loudness and softness

accentuating a musical piece. Inside and out

the museum hints of flowing melodies and

rhythms with varying degrees of violence.

fig. 10 Section.

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15.

MUSIC EDUCATION

EDUCATION IN THE CONSERVATORY

A conservatory of music, as distinguished

from a mUSIC school associated with a

university, can be thought of as more of a

"sanctuary" of music where only academics

related to music are taught and experienced.

The conservatory, in comparison to uni versity

schools, IS the most orchestral, because

students are expected not only to develop

individual musicianship, including solo

performance capabilities, but also to adjust

their performance to the guidance of a

conductor and the responses of other players.

Having evolved from schools of mUSIC

originating in Italy, the modern conservatory

focuses on professional training and the

teaching of a wide variety of musical subjects.

The first mUSIC schools of Italy were

charitable institutions for the education of

orphans In which the main emphasis was

placed on music. The earliest schools of this

type were the Ospedali dei Mendicanti (1262)

and Ospedali della Pieta (1346) and were

attached to hospitals known as the ospedali.

The first conservatorios, so called because

they were intended to preserve or

"conservare" the science of music, originated

in Naples. The centre for conservatories for

boys was there, with the Conservatorio Santa

Maria di Loreta being the first in 1537, the

Sant' Onofrio a Capua in 1576 and De' Poveri di

Gesu' Cristo in1589. Nearly all the great

Italian composers of the 17th and 18th

centuries were pupils or teachers at these

institutions. The first professional institution

of music In Europe, not a part of the

orphanage system. but where students were

admitted at an early age. was the Paris

Conservatory founded in 1784. Today the

school sti II exists in a much enlarged and

modernized form. I 3 The European

conservatory most imitated in America was

the Leipzig Conservatory, an institution

strarted by Mendelssohn in 1843. The school

adopted class teaching as its principal system

of instruction, believing that a situation

wherein students could play for each other

and for the criticism of the teacher was most

desirable. In general the students in each

class were at the same level of advancement.

At Leipzig there were five distinct classes hut

16.

more were organized if necessary. The

American conservatory was aimed at people

at all levels and abilities in the hope of

generating a cultural renaissance among the

masses. While there have been several claims

as to who first introduced the conservatory

system to America, Eben Tourjee can be

recognized as the first whose results were

significant and permanent. After several

attempts at opening a conservatory of music

on the east coast, Tourjee established the New

England Conservatory of Music in 1867. lie

became one of the principal spokesman for

the class system of instruction and organized

the National Music Conference for the purpose

of developing a uniformity of approach to

music education. Americans believed that

there were too many large classes in the

European conservatories and so modified the

European practice. It became common for

instrumental classes in schools such as The

Boston Conservatory, Peabody, Oberlin and

Chicago Conservatory to have between two

and six students. The method of large class

instruction was continued for the study of

secondary instruments with the study of a

student's primary instrument being through

private instruction. 1 4

The mUSIC conservatory of today teaches

courses In electronic mUSIC, contemporary

music styles, musical composition. theory. and

history of all periods. It is a creative center

of specialized education that promotes

innovative thinking and self expression. A

student of the conservatory wi II generally

focus on studying voice as a component of

choral groups or mastering a primary and

often times secondary instrument while being

a component of the orchestra. jazz band and

or varIOUS chamber musIc groups. The

students of the conservatory become involved

in a network of intellectual, social and cultural

learning experiences.

In their coursework, students engage in more

than the perception or production of musical

tones, they focus on learning musIc as a

process of relating tonal phenomena to human

experience. More emphasis IS placed on

problem solving and the creative process than

technical training on a musical instrument.

Students learn music through one on one

17.

instruction with a professor, as members of a

classroom, instrumental groups and through

hours of individual practice on their

particular instrument. It is through intensive

hours of study and practice that they foster

skills of creativity, conceptual thinking and

self expression.l 5

Music instruction in the studio, rehearsal hall

and classroom of the modern conservatory

will most often follow one or more of three

approaches or models. These approaches are

the lecture model, the activities model and

the instructional objectives model.

The studio teacher following the lecture

model would view his major role as that of a

performing musician providing a good musical

example. Most of the instructional period

would be spent performing ideal examples of

tonal quality, style, and articulation for his

pupils. Feedback would consist of comparing

the student's performance with the teacher's

performance. I 6

An ensemble conductor operating from a

lecture model would prepare the score in such

a manner that he might conduct the score

impeccably. The conductor would proceed to

do so in rehearsal, perhaps pointing out the

errors during the rehearsal. The task wou ld

be viewed as completed if the cond uctor

knew the score well, identified all errors, and

could conduct it adequately. The conductor

would prepare for class as if preparing to

conduct a professional performance. The role

of the ensemble is to follow the conducting.

Those students who could follow the

conductor would attain the most from the

encounter. The motivation to change the

performance and a systematic analysis of the

performance in relation to individual learning

fall within the responsibility of the students.

A lecture model for the general music class

such as, music literature, musicology or music

theory, would entail the presentation of

information, performance or musical

recordings in such a manner that the rate of

progress through the lecture is independent

of learning.

The second approach to mUSIC intruction IS

the activities model. A studio teacher

operating from an activities model IS

constantly preoccupied with material such as

solo and ensemble repertoire. I7 The student

18.

IS taken through a body of literature with the

amount of instruction

the student performs.

studio program has

time determining what

A graduate of such a

been through a wide

variety of literature and mayor may not

perform more skillfully or musically when the

program IS completed than he did when it

was begun. It is a process of selection, not

instruction, with the responsibility for

improvement related to the student's talent.

Such a program for the ensemble, whether

choral or instrumental, emphasizes exposure

to as much literature as possible. Exposure to

diverse musical styles with accompanymg

diverse technical problems IS seen as the

principal means of allowing the student to

explore the musical world. The emphasis will

not be placed on perfecting the score, but on

gammg an overall insight into the music. The

student IS believed to be capable of

determining his own learning needs and

acquIT1ng motivation from the intrinsic

rewards found in the music.

All of the attributes of an activities model

discussed in the ensemble program and the

studio program are found m the general

musIc class also. Exposure of the students to

musical activities,

constitutes the

literature

principal

strategies of an activities model.

or listening

educational

An instructional objectives model m the

studio differs in approach from the lecture

and activities models in that specific goals and

a hierarchy of goals are developed for the

instructional program. Lecture-performances,

ensemble activities, solo activities, literature

and etudes are grouped according to

objectives by ability levels. Each of the

activities, lectures, and performances IS

structured by the studio instructor and

arranged according to specific goals. l 8

The director of the ensemble program usmg

the instructional objectives model, has specific

goals of performance and comprehensive

musicianship or either of these purposes for

the members of his group. Conscientious

attempts to determine appropriate goals

developed by the professor, and perhaps the

director's carefully though-out goals, are

incorporated into the program. Programs of

this nature are difficult to implement because

there is no systematic process for insuring

19.

that the students reach the goals, either in

terms of evaluation or in terms of strategies

of management and motivations.

In an instructional objectives model for the

general music class, activities, lectures and

individual study units are grouped according

to a systematic hierarchy of objectives.

Quizzes usually are scheduled and a complete

curriculum is drawn up.

Each of the activities, lectures, and features of

all three models is found in most educational

settings. Most teachers of the conservatory

will operate predominantly in one role or

another when teaching the music class and

while instructing students on the vaflous

theories and techniques behind the student's

instrument of primary interest. 1 9 Instructors

will focus on teaching students to perform as

components of the orchestra as well as

members of chamber, choral and jazz music

groups and assist them In exploring the

possibilities of mediums such as electronic

musIc.

20.

COMPONENTS OF THE CONSERVATORY

INSTRUMENTS OF THE ORCHESTRA

"With these artificial voices we sing in a manner such as our natural voices would never permit." -John Redfield

In the orchestra instruments are divided into

four sections or choirs: the strings.

woodwinds, brass and percussion. The string

section of the orchestra includes the violin ,

the viola, violoncello and double bass. Each of

these instruments has four strings, which are

set vibrating by either drawing a bow across

them or plucking them.

The player controls the vibration of the string

by pressing it down at a point on the

fingerboard, stopping the string at another

point he changes the rate of vibration and

pitch by changing the length of the vibrating

portion. The string instruments are pre­

eminent In playing tones smooth and

connected (legato) and capable to of the

opposite, short and detached (staccato).

The violin was brought to its present form by

the brilliant instrument makers who

flourished in Italy from around 1600 to 1750.

Most famous among them were the Amanti

and Guarneri families and the master builder

of them all, Antonio Stradivari.

The violin, being the highest-pitched of the

string choir, is universally admired for its

singing tone, which brings it of all

instruments closest to the human voice.

Having an extremely wide range and pre­

eminent In lyric melody, the violin is also

capable of brilliance and dramatic effect, of

subtle nuances from soft to loud and of the

utmost rhythmic precision and great agility in

rapid passages) 0

The viola is somewhat larger than the violin ,

and is lower in range. Its strings are longer.

thicker and heavier and its tone is husky in

the low register and somber and penetrating

in the high. The viola is an effective melody

instrument, and often serves as a foil for the

more brilliant violin by playing a secondary

melody. It usually fills in the harmony. or

may double another part; that is, reinforce it

by playing the same notes an octave higher or

lower.

The violoncello, popularly known as cello. IS

lower in range than the viola and is notable

for its lyric quality, which takes on a dark

21.

resonance tn the low register. Composers

value its expressive tone. In the orchestra

the cellos perform functions similar to those

of the violins and violas, often carrying the

melody. They enrich the sonority wi th their

full-throated songfulness. They accentuate

the rhythm and together with the basses they

supply the foundation for the harmony of the

string choir.

The double bass, known also as contrabass or

bass viol, is the lowest in range of the string

section. Accordingly, it plays the bass part;

that is, the foundation of the harmony. Its

deep indistinct tones come into focus when

they are duplicated an octave higher, usually

by the cello. When this is done, the double

bass assumes great carrying

furnishes basic support for

orchestra.

power and

the entire

The string section has come to be known as

the "heart" of the orchestra, indicating its

versatility and general usefulness. The

strings also figure prominently as solo

instruments and in chamber music: in duets,

trios, quartets, quintets and the Iike.2 1

22.

fig. 13 String section.

In the woodwind instruments the tone is

produced by a column of air vibrating within

a pipe that has small holes in its side. When

one or another of these holes is opened or

closed, the length of the vibrating air column

within the pipe is changed. The woodwind

instruments are capable of remarkable agility

by means of an intricate mechanism of keys

arranged so as to suit the natural position of

the fingers. The woodwinds are a less

homogeneous group than the strings. Today

they are not necessarily made of wood, and

they represent several methods of setting up

vibration: by blowing across a mouth hole

(flute family); by blowing into a mouthpiece

that has a single reed (clarinet and saxaphone

families); by blowing into a mouthpiece fitted

with a double reed (oboe and bassoon

families). Their timbres are such that

composers think of them and write for them

as a group. The flute is the soprano vOice of the

woodwind choir. Its timbre ranges from the

poetic to the brilliant. Its tone is cool and

velvety in the expressive low register, and

smooth in the middle. In the upper part of

the range the timbre is bright and stands out

against the orchestral mass. The flute is a

melody instrument and offers the player

complete freedom in playing rapid, repeated

notes, scales and trills.2 2

The piccolo has a piercing tone that produces

the highest notes in the orchestra. In its

upper register it takes on a shrillness that is

easily heard even when the orchestra IS

playing fortissimo. For this reason the

instrument contributes to many an orchestral

climax.

The oboe is made of wood. Its mouthpiece is

a double reed with an extremely small

passage for alT. Because of this, high

compreSSIOn exists within the instrument

which results in a focused and intense tone in

all registers. Oboe timbre IS generally

descri bed as plainti ve, nasal, reedy and

associated with pastoral effects and nostalgic

moods.

The english horn is an alto oboe. Its wooden

tube is wider and longer than that of the oboe

and ends In a pear-shaped bell. which largely

accounts for its soft, somewhat mournful

23.

timbre.

poignan t. Its tone is expressive and gently

The clarinet has a single reed and possesses a

beautiful liquid tone that IS clear and

powerful in the high register, relaxed in the

middle and cool and almost spectral in the

low. It has a remarkably wide range from

low to high and from soft to loud and is

almost as agile as the flute commanding rapid

scales, trills and repeated notes.2 3

The bass clarinet is one octave lower in range

than the clarinet. Its rich singing tone,

flexibility and wide dynamic range make it an

invaluable member of the orchestra.

The bassoon belongs to the double-reed

family. Its tone is weighty and thick in the

low register, dry and sonorous in the middle

and reedy and intense in the upper. Capable

of a hollow-sounding staccato and wide leaps

that create a humorous effect, it is a highly

expressi ve instrument.

The contrabassoon, known as the double

bassoon, produces the lowest tone in the

orchestra. Its tube, over sixteen feet in

length, is folded four times around to make it

less unwieldly. Its function in the woodwind

24.

fig. 14 Bassoons.

section may be compared to that of the

double bass among the strings, in that it

supplies a foundation for the harmony.

The saxaphone combines the single reed of

the clarinet, the conical tube of the oboe and

the metal body of the brass instruments. It

blends well with either the woodwinds or

brass and is the characteristic instrument of

the Jazz band. Although it figures

prominently 10 a number of important

modern scores, it has not yet established itself

as a permanent member of the orchestra.2 4

The brass section consists of the french horn,

trumpet, trombone and tuba. The tubes of

these instruments flare at the end into an

opening known as a bell. The column of air

within the tube is set vibrating by the lips of

the player, which act as kind of a double reed.

To go from one pitch to another involves not

only mechanical means, such as a slide or

valves, but also variation in the pressure of

the lips and breath.

The french horn, generally referred to simply

as horn, is descended from the ancient

hunting horn. Its golden resonance allows it

to be mysteriously remote in soft passages

25.

fig. 15 French horns.

and nobly sonorous in loud. The timbre of

the horn blends equally well with woodwinds,

brass and strings, for which reason it serves

as the connecting link among them. Although

capable of considerable agility, the horn is at

its best in sustained utterance.

The trumpet, highest in pitch of the brass

choir, possesses a firm, brilliant timbre that

lends radiance to the orchestral mass. It is

associated with martial pomp and vigor. The

trumpet is muted with a pear-shaped device

of metal or cardboard that is inserted into the

bell. When the muted tone is forced, a harsh

snarling sound results. Jazz trumpet players

have experimented with vanous kinds of

mutes and these are gradually finding their

way into the symphony orchestra.

The trombone has a grand sonorousness that

combines the brilliance of the trumpet with

the majesty of the horn. In place of valves it

has a movable U -shaped slide that alters the

length of the vibrating air column in the tube.

Composers consistently avail themselves of

the trombone to achieve effects of nobility

and grandeur.25

The tuba is the bass of the brass choir. Like

the string bass and contrabassoon it furnishes

the foundation for the harmonic fabric. It is

surprisingly responsive for so unwieldly an

instrument. The tuba adds body to the

orchestral tone and a dark resonance ranging

from velvety softness to a growl.

The percussion section comprises a variety of

instruments that are made to sound by

striking or shaking. The percussion section of

the orchestra is sometimes referred to as "the

battery." Its members accentuate the

rhythm, generate excitement at the climaxes.

and inject splashes of color into the orchestral

sound. The percussion instruments fall into

two catagories: those which are capable of

being tuned to definite pitches, and those

which produce a single sound without pitch.

In the former class are the timpani or

kettledrums which are generally used in sets

of two or three. A pedal mechanism enables

the player to change the tension of the drum's

head, and with it the pitch. Its dynamic range

extends from a mysterious rumble to a

thunderous roll and is muffled in passages

that seek to evoke an atmosphere of mystery

26.

and mourning. Other percussion instruments

of varying pitches include the glockenspiel,

celesta, xylophone, vibraphone or vibraharp

and chimes. In the group of percussion

instruments that do not produce a definite

pitch is found the snare drum which owes its

brilliant tone to the vibrations of the taut

snares or strings on the lower head of the

drum. Also in this group is the tenor drum

which IS larger and without snares, the bass

drum of a low heavy sound and the tom­

tom.26

Others include the tamborine, castanets, the

triangle, cymbals and gong.

There are instruments other than the ones

just discussed that are occasionally used in

the orchestra without being an intregral part

of it. Among these are the harp, piano and

organ.

The harp IS one of the oldest musical

instruments. Its strings are played by

plucking and produce a crystalline tone that

sounds lovely, both alone and in combination

with other instruments. Its pedals are used

to tighten the strings, hence raise the pitch.

Chords on the harp are frequently played in

27.

fig. 16 Set of tlmpanls

broken form; that is, the tones are sounded

one after another instead of simultaneously.

The piano has a dynamic range and capacity

for nuance.

hammers

Its strings are struck with small

controlled by a keyboard

mechanism. The piano cannot sustain tone as

well as the string and wind instruments, but

is capable nonetheless of singing melody.

Each string is covered by a damper that stops

the sound when the finger releases the key.

The pedals control the vibrations of the

strings, volume and sustain of tones. Having a

wide range from lowest to highest tone and

commanding great rhythmic vitality, the

piano is pre-eminent for brilliant scales, trills,

rapid passages and octaves.

The organ, once regarded as "the king of the

instruments," is a wind instrument that takes

air into its pipes by mechanical means. The

pipes are controlled by two or more

keyboards and a set of pedals. Gradations in

the volume of tone are made possible on the

modern organ by means of swell boxes. The

organ possesses a multicolored sonority and

majestic harmonies that fill a huge space.2 7

28.

fig. 17 Harp.

THE ORCHESTRA

"Orchestration is part of the very soul of the work. A work is thought out in terms of the orchestra, certain tone-colors being inseparable from it in the mind of its creator and native to it from the hour of its birth."-Nikolai Rimsky Korsakov

The symphony orchestra is the most complete

and versatile of all mediums of musical

expressIOn. It is a definitely and carefully

arranged ensemble compnsmg about one

hundred of the most compatible

representitives of the four instrumental

families, the strings, woodwinds. brass and

percussIOn. The instrumental sections are

arranged. first according to the family to

which they belong. and second. according to

their pitch-range within the family, m the

manner of a choir of human voices.

The strings are the hardest-working of the

sections and referred to as the backbone of

the orchestra. They are the most adaptable,

with technical agility and fluency, a power of

diverse expressiveness and an expanse of

pitch-range not equalled by either the

woodwinds or the brass. It is this adaptable

family that is called upon to bear the most

burden in any mUSIC for the orchestra.28 The

violins are the first and second sopranos and

are placed at the front of the orchestra. either

facing each other at the left and right of the

conductor or massed together at the

conductor's left. The violas. slightly larger

and of deeper tone than the violins, are the

altos and are generally placed in front and

slightly to the right of the conductor. Held

between the knees of the player. the cellos

represent the tenor voice and are ordinarily

in front of the conductor slightly to the left or

sometimes rig.ht. The double basses,

requiring the players to stand or sit upon high

stools because of their large size. constitute

the hass voice of the string choir and are

usually arranged around the back of the

orchestra. Among the woodwinds. the flute is

the soprano voice. The oboe. supplemented in

the lower ranges by the french horn. and the

clarinet also have soprano characteristics.29

The bassoon commonly occupies a position

quite like that of the cello with a tenor voice.

The deepest bass IS the contra-bassoon.

Composers use the woodwi nd fam i I y

sparingly and with discretion because each

29.

instrument In the woodwind family has very

definite types of music it plays well or badly

and woodwind tone-quality tires the listener's

ear quickly. The woodwinds are at their best

in colorful solo passages of reasonable length,

in harmonic combinations of short duration

among themselves or In combination solo

passages with an instrument of the stri ng

group. The brass instruments constitute the

"heavy artillery" of the orchestra and while

they figure as occasional soloists to convey

nobility or solitary grandeur, they serve

chiefly to reinforce the impressive and

thunderous climaxes of massed tone which

strings and woodwinds could never achieve

by themselves.3 0 The trumpets possess

considerable agility, due to tonguing

techniques and a well developed system of

valve-fingering. The trombones are slower,

more ponderous and very majestic in their

tenor and bass domain. The tuba works with

the double bass in giving a solid foundation to

the harmonic structure. Horns in F, also

known as the french horns, constitute the

group of the most color and harmony in the

brass ensemble. The french horns are brass

fig. 18 Orchestra seating plan.

instruments In texture and In mechanical

construction, but their tone quality places

them more properly with the woodwinds.

The perCUSSIOn section, concerned with

accentuating and pointing up rhythms. IS

headed by the timpani. a set of two drums

shaped like huge kettles, which can be tuned

to definite pitches. Other instruments of the

section include the small drum, the bass

drum, cymbals. triangle, orchestra bells, tam­

tam, gong, chimes and a variety of others that

contribute much of the "spice" of orchestral

m u sic. 3 1 There are no set rules as to the

number of instruments in a section within

the orchestral body. However, certain ratios

exist which make for a satifying acoustical

balance and which are generally observed by

symphony orchestras. A typical orchestra

o .-~I

30.

embraces 34 violins evenly divided as firsts

and seconds, 12 violas, 10 cellos, 8 double

bass and 2 harps in its string section. In its

woodwind section there are 3 flutes, 1 piccolo,

3 oboes, 1 english horn, 3 clarinets, 1 bass

clarinet, 3 bassoons and 1 double bassoon.

The brass section contains 6 horns, 4

trumpets, 4 trombones and 1 tuba. The

percusslOn section may contain 4 timpanis,

tenor drums, bass drums chimes, xylophones,

celesta, cymbals and other percussion devices

as needed. There may also be an organ,

plano,

special

saxaphones,

instruments.

mandolins

The

and other

described is that generally

orchestra just

called for In

compositions by Wagner, Brahms, Bruckner,

Tchaikovsky, Strauss and other composers of

the late 19th century.3 2 The orchestra is

directed by the conductor. who beats time,

indicates the entrances of the vanous

instruments and performs related details that

serve to make the structure of the work clear.

Like any performing artist, he presents his

personal interpretation of what the composer

has written. He has before him the score of

the work which consists of from a few to as

many as twenty-five or more staves. each

representing one or more instrumental parts.

What is gOing on at any moment in the

orchestra is indicated at any gi ven point on

the many staves of the musical score) 3

Flul8!

Oboes

Clarinets in Bb

Horns in F - l~r~ ,. ,....". 1/=

Horns in D '~~Fr=r Trumpets in F

Trombones

Violin I

Violin II

Viola

CeUo

fig. 19 Music score showing the arrangement of parts.

~==-

--.-~-~J~

---------

31.

CHAMBER MUSIC

"No other form of music can delight our senses with such exquisite beauty of sound. or display so clearly to our intelligence the intricacies and adventures of its design." -Henry Hadow

By chamber music is meant ensemble musIc

for from two to about eight or nine

instruments with one player to the part. as

distinct from orchestral music. in which a

single instrumental part IS presented by

anywhere from two to eighteen players. The

essential trait of chamber music is its

intimacy and refinement; its natural setting is

the home. In this domain we find neither the

surge and thunder of the symphony nor the

grand gesture of the operatic stage. The

drama is of an inward kind. Each instrument

is expected to assert itself to the full, but the

style of playing differs from that of the solo

virtuoso. Where the virtuoso is encouraged to

exalt his own personality, the chamber music

player functions as part of a team.3 4 The

Classical era saw the golden age of chamber

music. Haydn and Mozart, Beethoven and

Schubert established the true chamber music

style, which is in the nature of a friendly

conversation among equals. The central

position in Classical chamber music was held

by the string quartet. Consisting of first and

second violins, viola and cello, this group

came to represent the ideal type of happy

comradeshi p among ins tru men ts, lend ing

itself to music of exquisite detail and purity of

style. Other favored combinations are the duo

sonata- piano and violin or cello; the trio­

piano, violin and cello; and the quintet,

usually consisting of string or wind

instruments. or a string quartet and solo

instrument such as the piano or clarinet.

Chamber music holds out to the listener a

very special musical experience, offering him

delights that no other branch of music can

duplicate.3 5

fig. 20 String quartet.

32.

CHORAL MUSIC

"In a sense no one is ignorant of the material from which choral music springs. For this material is. in large measure, the epitomized thought, feeling, aspiration of a community rather than an individual."- Percy M. Young

Choral music is performed by many VOIces

that make up a chorus, choir or glee club. A

chorus is a fairly large body of singers,

generally consisting of both men and women.

A choir is a smaller group, usually connected

with a church. A glee club functions as a rule

in a college and performs popular music and

college songs along with more serious works.

The chorus consists of four groups,

corresponding to the principal vocal ranges:

sopranos, altos, tenors and basses. Therefore

the basic arrangment of choral mUSIC IS

usually in four parts. The groups may be

subdivided into first and second sopranos,

first and second altos and so on. so that the

music may unfold in from five to eight or

more parts. Choral music consequently

differs 10 one important respect from most

instrumental music where a single melody

line IS supported by a background of

harmony. In choral music one hears several

voice parts that unfold like many threads that

interweave In an ever changing pattern.

Often an idea is presented in one voice and

imitated in turn by each of the other voices.

Although, choral music in earlier times was

often performed without accompaniment, by

the 18th century the orchestra had

established itself as a partner of the chorus.

Choral music offered the composer exci ting

opportuni ties for contrast: between voices

and orchestra. between men's and women's

voices, between high and low voices, between

solo voices and chorus as well as all possible

combinations of these. In choral music the

text relates to the music in a different way

than in solo songs. The words are not as

easily understood when a multitude of voices

is projecting them or when the four groups in

the chorus may be singing different words at

the same time. Thus, the practice of repeating

a line, phrase or individual word over and

over became a principle of choral

composition) 6

33.

ELECTRONIC MUSIC

"I have been waiting a long time for electronics to free music from the tempered scale and the limitations of musical instruments. Electronic instruments are the portentous first step toward the liberation of music."-Edgard Varese

Electronic music has two aspects of novelty,

The most immediately obvious one is the

creation of "new sounds," and this has

impelled many musicians to use the new

medium. Equally important, perhaps, is the

fact that the composer of electronic music is

able to work directly with the sounds. and can

produce a finished work without the help of

an intermediary- the performer. The

composers, in this case being the students of

the conservatory, utilize a wide variety of

equipment such as synthesizers, tone

generators, mixers, ampliphiers and drum

machines. Computers, used for sound

generation, musical notation and composition

are also widly used and represent the most

flexible of the electronic media. General

electronic instruments may be divided into

two groups: those in which the tone IS

generated by electronic circuits and those in

which the tone is generated by such

conventional means as strings or reeds and

then subject to modifications in loudness and

timbre by electronic circuitry. Although there

exists a variety of equipment with different

concepts, the installations and basic

techniques can be described in a general way.

They include, theoretically, three essential

steps that correspond to the phases of

creation of a composition: generation of

material, transformation of material, and

recording. Composers are able to bring about

simultaneity in these three operations and to

substitute automation for manual putting

together of their results.37 An electronic

work. once synthesized. is fixed forever in the

form that the composer had intended; instead

of "music to be performed," it becomes "music

to be reproduced," no longer needing the

concert framework. The new music requires

new listening conditions that are more

appropriate to its stereophonic di mensions

while allowing for freer modes of audience

contact in both time and space. Electronic

music has also influenced live music,

challenging performers to extend themselves

34.

to produce new types of sound, and

suggesting to composers new ways of thinking

about conventional instruments. The term

electronic music is used in the same way that

one would speak of piano music or vocal

music- to describe a medium, not a style. Just

as piano music or vocal music may be in the

Baroque or Classical style, so a piece using

electronic sounds may be in one style or

another. Naturally, when a composer writes

for a particular medium he tries to take

advantage of the things it alone can do.

Electronic music is at its best when it says

things that cannot be said In any other

medium. All the same, composers of

electronic music are free, just as they would

be if they were wntIng for conventional

instruments, to compose in any style that

suits them.3 8

35.

ACTIVITY ANALYSIS

ACADEMIC CLASSROOMS: (5) 400 sq.ft.

In the academic classroom, students are instructed in music

theory history, composition, and other music appreciation

courses. A music professor will instruct between 12 and 18

students at one time with the aid of an upright or grand piano

and tape or compact disc sound system. Class time will, most

often, be spent listening to and analysing musical compositions,

taking notes and discussing various music related topics. The

classroom may be used occasionally by ensembles as practice

space during nonscheduled class times.

Sufficient space should be provided for a grand or upright

piano and 18 student desks. Because learning In the

classroom involves listening to music and the class may be

adjacent to other sound generating spaces, acoustical

considerations should be taken into account to block out any

extraneous sounds and to contain sounds that are generated

within the space. The room should also be acoustically ideal

for the playing of live music since musical examples will be

performed on the piano and ensembles may practice there.

Skylights and windows may be utilized in the classroom for

natural lighting opportunities. The acadelllic classrooms

should be convenient to the piano class-rooms and music

library. Ideally the classrooms should be located away from

the ensemble practice rooms, percussion studio and choral

and instrumental rehearsal spaces.

36.

PIANO CLASSROOMS: (2) 450 sq.ft. The piano classroom

In this classroom

headphone equipped

is utilized for class instruction on plano.

students are stationed at individual.

electronic pianos. The professor teaches

the class as an entire group or moves about the room with a

second set of headphones, instructing individuals one on one.

With the aid of a traditional grand or upright piano the

professor will instruct between 12 and 15 students on playing

technique, mUSIC notation and vaTlous musical styles.

Students will, at times, listen to a pre-recorded musical

composition through a tape or compact disc sound system or

to an example played by the professor on the traditional

piano. Sufficient space is required for fifteen 15x36 inch

electronic pianos and a traditional grand or upright piano.

The listening activities occuring within the space require

acoustical considerations for protection from any extraneous

sounds intruding from adjacent spaces. Although most of the

musIc played In the classroom IS heard through private

headphones, care should be taken to contain sounds

generated by the traditional piano and stereo sound system

within the spal'e. The piano classroom offers the opportunity

for the use of windows and or skylights for natural lighting.

The piano classrooms should be located away from the

percussIOn studio and choral and instrumental rehearsal

spaces and convenient to academic classrooms, the electronic

music studio and music library.

37.

FALCUL TY STUDIOS: (25) 220 sq.ft.

The falculty studio is utilized by the professor as a private

office and a teaching space for one on one instruction with a

student. A professor will utilize the studio as a personal office

and meet with individual students for private instruction on

the vanous musical styles, mUSIC notation and playing

technique of a particular instrument. Because the piano is the

basic instrument by which all music is taught, the professor

will instruct the student on the instrument of his specialty

with the help of a grand or upright piano. Although the

studio space is generally used by the professor and only one

student, there are times when small ensembles of 3 or ·l

students may meet with the professor. Each studio should

provide sufficient space for a grand or upright piano, a desk

and storage space for books, sheet music and instruments.

Because live music will be played in the small studio it is

important to consider the acoustical aspects of reverberation

control and sound absorbtion in the space. Because the space

may be located near other falculty studios and other

acoustically sensitive spaces, care should be taken to address

sound isolation in order to contain the musical sounds that are

generated within the studio and protect it from any

extraneous sounds. Professors may spend long hours in the

studio space. making the installation of windows and

skylights most ideal. The studios should be convenient to the

choral and instrumental rehearsal spaces.

38.

ELECTRONIC MUSIC STUDIO: 400 sq.ft.

The electronic music studio is a place that is used for the

playing, composing and recording of electronic music.

Although the setting in the studio is not one of classroom

instruction, falculty members assist students from time to

time on the utilization of a wide variety of electronic

equipment. It is a place for the exploration and investigation

of the many unique possiblilities capable of various electronic

equipment such as synthesizers, tone generators, mixers,

ampliphiers and drum machines. The number of falcuIty

members and students composing, rehearsing and recording

mUSIC In the studio at one ti me wi 11 vary from 2 to 15.

Sufficient space is required for the vanous electronic

equipment and storage. Sound isolation should be addressed

for the containment of sounds generated in the space and the

protection of the space from any extraneous sounds. It is also

important to address the acoustical aspects of reverberation

control and sound absorbtion to ensure an ideal environment

for recording. The electronic mUSIC studio should be

convenient to the music library and piano classrooms.

fig. 22 Electronic music studio nu School of Music.

39.

MUSIC LIBRARY: 800 sq.ft.

The music library is used by the students and falculty of the

conservatory for the reference of music related materials.

Students and falculty will utilize the library to reference

music books and periodicals and to sign out sheet music and

various pre-recorded tapes and compact discs for listening. A

librarian assists students with the reference of books and

signIng out of tapes or compact discs. The music library will

contain 8 computers for composing and deciphering music

scores. As many as 25 students may be in the library at one

time, using the computers or referencing materials. Adequate

space should be provided for reading tables, books, file

cabinets, the librarian's work area and 8 computers.

Skylights and windows providing natural light and interesting

views would be ideal for the heightened enjoyment of

reading. listening and contemplating in the library. The music

library should have direct access to the music listening room

and be convenient to the electronic music studio and plano

and academic classrooms.

40.

MUSIC LISTENING ROOM: 250 sq.ft.

The music listening room is used primarily by students to

listen to pre-recorded music on tapes or compact discs.

Students and falculty will utilize reel to reel tape or compact

disc players at individual listening stations to listen to musical

compositions acquired

library. Individual

allow for a maximum

from the reference desk in the music

headphone equiped listening stations

of 20 students and falculty members to

utilize the listening room at one time. To ensure a quiet

environment for music listening, acoustical aspects of sound

isolation should be addressed to block out any extraneous

sounds from nearby sound generating spaces. Sufficient

space should be provided for banks of 20 reel to reel tape or

compact disc players. The room should utilize natural light

and be of a particular character that increases music listening

enjoyment. The room should be adjacent to or contained

within the music library, providing direct access to the library

and making it convenient to the electronic music studio and

piano and academic classrooms.

fig. 23 Music listening room nu School of Music.

41.

ORGAN STUDIOS: (2) 150 sq.ft.

The organ studio is utilized for the instruction, practice and

rehearsal of organ music. A student will spend hours

practicing and rehearsing in the organ studio or meet there

with a professor for private instruction. There may be a

maximum of only four people in the studio at one time due to

the large amount of space required for the organ. Adequate

space should be provided for the organ's console, pipework

and chest, with a relatively high ceiling providing enough

volume for the organ to speak out properly. Acoustical

aspects of sound isolation should be addressed in order to

contain sounds generated in the studio and to protect the

studio from any extraneous sounds. Aspects of reverberation

control for such a large instrument in a relatively small space

should also be addressed. Because students may spend long

hours practicing in the space, unique solutions for providing

natural light should be considered.

The organ studio should be conveniently located near the

recital hall to allow for last minute rehearsals hefore

performance time.

42.

PERCUSSION STUDIO: 400 sq.ft.

The percussion studio IS utilized to instruct students on

percussion instruments. Professors will instruct students on

the various playing techniques, music notation and musical

styles of percussion instruments. The studio will be utilized

by students of the orchestra's percussion section for practice

and rehearsal space. During scheduled and nonscheduled

class times, there may be between 10 and 15 students

utilizing the studio at one time. The studio should provide

sufficient space for various percussion instuments such as

timpanis, chimes, xylaphones, trap sets and bass drums.

Acoustical considerations should address aspects of sound

isolation to ensure the containment of sounds within the

studio. Sound absorbing materials such as carpet, may be

used under some instruments In conjunction wi th hard

reflective floor surfaces under others. The percussion studio

should be conveniently located near the percussion practice

rooms, instrumental rehearsal space and recital hall to ease

the task of moving instruments between the spaces.

43.

.... _ .. __ : iiiiii~ -"~M ___ ._

fig. 24 Percussion studio nu School of Music.

:..J

PERCUSSION PRACTICE ROOMS: (3) 70 sq.ft.

The percussion practice rooms are used by students to

practice on various percussion instruments. Students whose

instruments of primary interest are percussion, will utilize

the practice rooms as private spaces to practice playing skills

and rehearse compositions. Although located adjacent to the

percussion studio and primarily for percussion students, small

ensembles and individual students with instruments other

than percussion, may use the spaces when practice rooms are

full elsewhere. Although one student generally uses a

percussion practice room, as many as four may utilize the

room at one time. The practice rooms should provide enough

space for the larger percussion instruments such as, a set of

timpanis, a 5 piece trap set, chimes or a xylaphone. The small

practice spaces should have appropriate sound isolating

qualities to ensure the containment of sounds and protect

them from sounds generated in adjacent spaces. Acoustical

aspects of reverberation control and sound absorbtion should

also be addressed. Skylights or windows may be utilized to

introduce natural light into the spaces. The percussion practice

rooms should be adjacent to the percussion studio and

convenient to the instrumental rehearsal hall and recital

hall. fig. 25 Percussion practice room

TTU School of Music.

44.

PRACTICE ROOMS: (30) 70 sq.ft.

The practice rooms are primarily used by individual students

as private practice spaces. A student will utilize a practice

room to work on vocal arrangements or practice playing skills

and rehearse compositions on hi s instrument of primary

interest. The practice room provides a place of privacy for a

student to focus on playing style and self expression.

Although a practice room is primarily used by one student.

ensembles of as many as four may utilize a room at one time.

Grand or upright pianos should be located in 20 of the 30

practice rooms. Acoustical aspects of sound isolation should

be addressed to ensure the containment of sounds generated

in the spaces and protect each one from extraneous sounds.

Aspects of reverberation control and sound absorbtion for the

small spaces should also be addressed. Because students may

spend as many as 6 hours practicing in the spaces, skylights

or windows providing natural light and interesting views

would be ideal. The practice rooms should be located near

the ensemble practice spaces and instrument storage area,

with at least 4 being located near the recital hall. The

practice rooms should also be convenient to the choral and

instrumental rehearsal halls.

45.

ENSEMBLE PRACTICE ROOMS: (3) 300 sq.ft.

Ensembles and sectionals will utilize the practice rooms for

practice space. Students playing as components of chamber

music groups, various instrumental ensembles and sectionals

will meet in the space, most often with a professor, to practice

and rehearse musical compositions. The ensemble practice

rooms may also be utilized for informal classes and group

meetings when classroom space can not be found elsewhere.

The spaces will acomodate instrumental groups of 15

members. Each practice room should contain a grand piano,

tape or compact disc sound system and 15 chairs and music

stands. Acoustical aspects of sound isolation. absorbtion and

reverberation control should be addressed to ensure an ideal

environment for the playing of live music. Skylights or

windows providing natural light and ventilation may be

incorporated here. The ensemble practice rooms should be

located near the individual practice rooms and convenient to

the instrument storage area, instrumental rehearsal hall and

reci tal hall.

fig. 26 Ensemble practice room TTU School of Music.

46.

INSTRUMENTAL REHEARSAL HALL: 3,000 sq.ft.

The instrumental rehearsal hall is primarily used as an

instruction and rehearsal space for the conservatory's

orchestra. Students of the orchestra, jazz band or other large

instrumental groups will meet together in the hall for

instruction by a professor or conductor. The rehearsal hall is

that of a classroom setting where the students come together

to work as components of a larger team, meeting at scheduled

times for instruction, practice and rehearsal of musical

compositions. The space may be used at times, by visiting

performing groups for rehearsal before a performance in the

recital hall. Instrumental groups utilizing the space will range

between 40 and 100 members. The rehearsal hall should

provide sufficient space for the orchestra and its instruments.

allowing for adequate spacing between rows with music

stands and chairs and a 6 to 8 foot circulation path around the

periphery of the room. Space for a grand piano, tape or

compact disc sound system and the storage of various

instruments and sheet music should also be provided. The

rehearsal hall should provide a relati vely ideal acoustic

environment for the performing of music with a ceiling height

of 20 to 25 feet and aspects of reverberation control and

sound absorbtion being addressed. Acoustical aspects of

sound isolation as related to the loud nature of such large

instrumental groups should also be addressed. The

instrumental rehearsal hall should be located near the recital

47

hall and instrument storage area to ease the task of moving

large instruments, yet located away from such acoustically

sensitive spaces as the electronic music studio, classrooms and

music library.

fig. 27 Instrumental rehearsal hall Jouliard School of Music.

.48.

CHORAL REHEARSAL HALL: 800 sq.ft.

The choral rehearsal hall will primarily be used by choral

groups for practice and rehearsal. With a choral instructor

and grand piano, the members of choir groups will utilize the

space during scheduled class times for learning new

techniques and practicing musical compositions. The choirs

will also use the space for rehearsals before performances.

During nonscheduled class times or rehearsals for the choir,

the hall will be used for informal group meetings or large

ensemble and sectional practices when the instrumental

rehearsal hall and ensemble practice rooms are being used.

As many as 50 students will utilize the choral rehearsal hall

at one time. The hall should provide adequate space for a

grand piano and storage of sheet music. The floor space in

the rehearsal hall will be comprised of 6 inch risers with 36

inch treads. Ceiling hieghth in the space should be 20 feet

and acoustical aspects of reverberation control and sound

absorbtion should be adressed to ensure an appropriate

environment for vocal performance. Aspects of sound

isolation should also be taken into consideration to ensure the

containment of sounds and protect the rehearsal space from

sounds of adjacent spaces. The choral rehearsal hall should

be conveniently located near the instrumental rehearsal hall,

though protected from it with perhaps the instrument storage

area as a separating space. The choral rehearsal hall should

also be convenient to the recital hall.

.' .~ • ",'t.. ',"

fig. 28 Choral rehearsal hall JoulJard School of Music.

49.

THE RECITAL HALL: 4,000 sq.ft.

The recital hall IS primarily used for solo and small

instrumental group performances. Visiting music groups and

students of the conservatory will engage in solo recitals and

various sized chamber and choral music performances for

both public and private audiences. The recital hall will also

serve as a lecture hall for large classes and guest speakers.

The recital hall will seat 300 people with a stage to

accomodate up to a 30 piece instrumental group. Sufficient

space should be provided for a pipe organ and its casework,

dressing rooms and storage for any conservatory performing

attire for choral and instrumental groups. The recital hall

should be acoustically ideal for the performing of live music.

with a minimal ceiling heighth of 20 feet and aspects of

reverberation contol and sound absorbtion being properly

addressed. Care should be taken to isolate sound within the

recital hall and protect it from any extraneous nOises

generated in the lobby or other nearby spaces. The recital

hall should be convenient to the instrumental rehearsal hall,

choral rehearsal hall and instrument storage area with at

least 4 practice rooms located nearby. A lobby space should

be adjacent to the recital hall, denoting entry and a place for

audience arrival.

fia. 29 Theater-In-the-round fig. 30 Center stage

50.

fig. 33 Orchestra stage setting

fig. 31 Open or thrust staQe fig. 32 Thrust stage

INSTRUMENT STORAGE AREA: 800 sq.ft.

The instrument storage area is a space for the storage of

student's personal instruments. Secure, individual storage

compartments of various sizes are utilized by students of the

conservatory to store their instruments when they are not

being used for practice, instrumental rehearsals or recitals.

As many as 60 students will access their storage lockers at

one time. Adequate space should be provided for the

students to circulate, store and remove various instruments

with ease. The largest storage compartments in the space

should be 48 inches deep, 62 inches wide and 83 inches high

to accomodate larger instruments. The storage area should be

conveniently located near the instrumental rehearsal hall and

recital hall. fig. 34 Instrumental storage area

nu School of Music.

51.

PIANO TECHNICIAN OFFICE/WORKSHOP: 250 sq.ft.

The piano technician office serves as an office space and

workshop for the conservatory's on-staff piano technician. A

full-time piano technician will routinly tune and repair the

pianos throughout the conservatory. The workshop,

containing various tools and supplies, may be utilized by

professors or student assistants, as well as the plano

technician, to repair other various musical instruments. As

many as 4 people may be utilizing the workshop facilities at

one time. Adequate space should be provided for the

technician's desk, workbench and storage of various tools,

supplies and instruments.

52.

ADMINISTRATIVE OFFICES: (2) 200 sq.ft.

The administrative offices will be utilized by the

conservatory's dean and assistant dean for vanous

administrative activities. The dean of the conservatory will

be directly involved in decision making issues related to the

curriculum, admission requirements and the hiring and

supervising of faIcuIty members. The dean will perform

other tasks such as participating on student audi tion juries

and utilizing people contacts for fund-rainsing activities. The

assistant dean may be involved in public advertisement,

counseling of students and other vanous administrati ve

activities as delegated by the dean. As many as 5 people

including faIculty members, students, secretaries and visitors

may be utilizing either of the office spaces at any time. Each

office should provide adequate space for a desk, bookshelves.

filing cabinets and a small meeting table. The administrative

offices should be adjacent to one another and conveniently

located near the secretarial space, conference room and

conservatory's entry.

53.

SECRETARIAL SPACE: 300 sq.ft.

The secretarial space will be primarily used by two

secretaries for the performance of various administrative

activities. Two secretaries, with the occasional help of student

assistants, will perform general secretarial duties and be

involved in class scheduling, visitor reception and a variety of

other activities as delegated by the dean and assistant dean.

Including the two secretaries, as many as ten people may be

utilizing the secretarial space at one time. Adequate space

should be provided for two desks, bookshelves, filing

cabinets, a copy machine and sitting area. The secretarial

space should be located near the administrative offices,

conference room and main entry of the conservatory.

54.

CONFERENCE ROOM: 400 sq.ft.

The conference room will be primarily utilized by the

conservatory's falculty for meetings. Falculty members and

student groups will utilize the conference room for a meeting

place to discuss issues relating to the conservatory and its

activities. As many as twenty falculty members and students

may comfortably utilize the conference room at one time. The

room should provide sufficient space for a large conference

table and portable blackboard. The conference room should

be convenient to the secretarial space and administrative

offices.

55.

AUXILIARY AREAS: 13,000 sq.ft.

The auxiliary areas will include an outdoor courtyard, lobby

spaces circulation space, men's and women's restrooms and

janitorial and mechanical rooms. The outdoor courtyard will

be an inspirational space to serve as a socializing area,

informal classroom and ensemble practice area protected

from the surrounding urban environment. The outdoor space

will be approximately 2,000 square feet. A lobby space will

be located at the main entry of the conservatory and another

at the entry of the recital hall. Each will include men's and

women's restrooms, with the conservatory's main entry lobby

being 400 square feet and that of the recital hall being 700.

Allowable square footage for circulation throughout the

conservatory will be approximately 30% of the conservatory's

assignable square footage. There will be a total of 4 men's

and women's res trooms dis tri bu ted throu ghou t the

conservatory at150 square feet each. There will be 2

janitorial spaces at 70 square feet each and mechanical space

will total 5% of the conservatory's gross square footage.

56.

ACADEMIC CLASSROOMS: (5)

PIANO CLASSROOMS: (2)

FALCULTY STUDIOS: (25)

ELECTRONIC MUSIC STUDIO:

MUSIC LIBRARY:

MUSIC LISTENING ROOM:

ORGAN STUDIOS: (2)

PERCUSSION STUDIO:

PERCUSSION PRACTICE ROOMS: (3)

PRACTICE ROOMS: (30)

ENSEMBLE PRACTICE ROOMS: (3)

INSTRUMENTAL REHEARSAL HALL:

CHORAL REHEARSAL HALL:

THE RECITAL HALL:

INSTRUMENT STORAGE AREA: PIANO TECHNICIAN OFFICE/WORKSHOP:

ADMINISTRATIVE OFFICES: (2)

SECRETARIAL SPACE:

CONFERENCE ROOM:

AUXILIARY AREAS:

lobby spaces:

circulation space:

restrooms:

janitorial space:

mechanical space:

TOTAL BUILDING SQUARE FOOTAGE:

400

450

220

400

800

250

150

400

70

70

300 3,000

800 4,000

800

250

200

300 400

1,100

7,845 1,200

140

I .700

35,695

sq. fLea.

sq.fLea.

sq. fLea.

sq. fL

sq .fL

sq .fL

sq .fLea.

sq.fL

sq.fLea.

sq.fLea.

sq.fLea.

sq. fL

sq .fL

sq.ft.

sq. fL

sq. fL

sq.fLea.

sq. ft.

sq .ft.

sq .ft.

sq.fL

sq.ft.

sq .flo

sq. flo

sq.ft

SYSTEMS PERFORMANCE

ACOUSTICS

The composer, conductor, performer and listener are engaged in a complex interplay with their particular acoustical environments.-Leo L. Beranek

Acoustics, taken in the broadest sense, is the

science of sound. Frequency, amplitude, wave

form, resonances and responses to tones are

some of the things acousticians ask questions

about and formulate answers. In a more

restricted and popular sense, acoustics is

defined as those qualities of a space that

affect the production, transmission and

perception of music or speech. Almost every

acoustical situation can be described in terms

of a source of sound, a path for transmission

of sound and a receiver of the sound, each

relating to aspects of sound absorption,

reverberation and sound isolation.

Sound absorbtion reduces noise levels, and

controls reverberation or undesirable sound

reflections such as echo, focusing and flutter.

It should be emphasized that sound absorbing

materials are used for the control of sound

within a space and not for the control of

sound transmission between spaces. Sound

absorbing materials within a space absorb

sound incident upon their surfaces. Porus,

fibrous materials such as carpets, draperies.

upholstered furniture, clothing and specially

designed sound-absorbing materials are

capable of appreciable sound absorption.

Most common building materials such as

brick, concrete, and glass are poor sound

absorbers but can be used as sound reflectors

to effectively distribute sounds in performing

spaces such as auditoriums and recital halls.

Sound absorption results when the pressure

of the air increases and decreases with the

arrival of successive sound waves causing the

air molecules near the porous surface to

migrate into the labyrinth of capillary-like

tunnels in rapid back and forth motion. The

amount of absorbtion provided by the

material IS determined by the thickness,

density, porosity, and the resistance the

material offers to the passage of air."' 9

Reverberation, often confused with echo, is

the smooth decay of sound as it reflects from

surface to surface around the room, gradually

losing energy on each contact with the

absorbing elements In the space. Some

58.

reverberation is always desirable in a room to

give it life and character. The absence of

reverberation indicates an overabundance of

sound-absorbing material and energy waste.

Sound isolation IS the control of the

transmission of unwanted sounds into any

space within a building. The undesired

sound may be automotive or aircraft noise

from the outside, or it may be sound

generated within surrounding spaces such as

speech or music in an adjacent classroom. It

may also be direct impact-induced sound such

as footfalls of persons walking on the floor

above or vibrating mechanical equipment.

The problems of sound isolation are usually

considerably more complicated than problems

of sound absorption and involve reductions of

sound level which are of greater orders of

magnitude than can be achieved by either

absorption or separation of the noise sources

from the listener. These large reductions of

sound level from one space to another can be

achieved only by continuous and massIve

impervious barriers and, if the problem

involves structure-borne sound as well, it

may be necessary to introduce discontinuities

Direct sound

fig. 35 Direct and reflected sound

fig. 36 Paths of direct and reflected sound in a concert hall.

59.

Wall

Reflected sound

~~,,,,

- r" j\1 :1~11--1

, , ' I

I

or resilient layers into the barrier also. It

cannot be emphasized too strongly, that sound

absorbing materials are quite inadequate for

sound isolation and that the materials for

sound-absorption and those for sound

isolation are used for entirely different

purposes. One factor depending on whether

or not the transmitted sound will be heard in

the rece] vtng room ]s the level of the

background sound in the receiving room.40

There is almost always a certain amount of

continuous background noise present in any

space due to the air-conditioning system,

nmse of distant traffic, or the nmse of

activities in other parts of the building. The

effect of this masking sound on any sound­

isolation problem is as important as the sound

-isolating properties of the barrier itself. In

spaces such as rehearsal rooms and recital

halls where activities require extreme quiet,

the background sound itself must be very

low, and thus the barriers are called upon to

provide large amounts of reduction of any

intruding sound by means of elaborate double

wall construction. Sound transmission can

occur through paths other than through a

fig. 37 Some common sound­leakage paths.

common barrier. These can be referred to as

flanking paths since they bypass the common

barrier between the spaces.41 Flanking of

sound can occur through the structure of the

building. Airborne-to-structure flanking of

sound, requiring special "floated" floors or

ceilings. occurs when sounds excite the floor

and ceiling slab construction and reradiate

into the adjacent space. Structure-borne

l ' . . ,

>

'.1J'1.'..-t '~~--

60.

sound waves travel from one part of a rigid

structure to another. Sources which act

directly on the structure such as the impact of

footsteps, vibrations from pianos or rigidly

mounted mechanical equipment, are

res pon si ble for s true ture- borne sound

problems. As mentioned, air conditioners can

be useful as masking noise in some spaces,

but the associated mechanical equipment,

piping and ductwork is a source of airborne

and structure borne noise. Ducts, both supply

and return can carry fan nOIse to occupied

spaces unless proper mufflers and sound­

absorbing linings are used. Mechanical

equipment rooms should be as remote as

possible from acoustically sensitive spaces

with their walls, floors and ceilings of heavy

concrete and masonry construction.42

61.

ACOUSTICAL CONSIDERATIONS IN THE CONSERVATORY

Without good conditions for performance,

rehearsal, teaching, composing or reading, a

mUSIC building simply cannot provide the

environment for good teaching. Acoustics,

like structure, air conditioning and lighting

must be considered from the very beginning

of planning of the music school. Although

sensible planning and arrangement of spaces

sometimes can obviate the need for expensive

sound-isolating construction, a music building

will always cost more than an ordinary

classroom building. The acoustic properties of

a room can enhance the quality of music for

the listener and can give the performer a

sense of support that adds to the pleasure and

quality of his performance. When designing a

school of music, first, adequate sound isolation

must be provided between various spaces for

satifactory simultaneous use and second,

satisfactory room acoustics must be provided

for performers and listeners. These two

objectives are achieved by completely

different mechanisms. Sound isolation is

achieved by the construction that separates

two spaces, while room acoustics are

determined by the shape and surface of the

finishing materials used in the interior. The

degree of sound isolation required for various

spaces in a music building will vary with the

type of use. The most critical isolation

problem probably is that for teaching studios

and classrooms. Any audible musical sound

has musical intelligibility, as contrasted with

speech, which transmits as a vague

mum b Ie. 4 3 This is especially important in

classrooms used for music theory, where any

audibility of musical sound from an adjoining

room during music dictation IS most

disconcerting. Score reading and composition

also requIre inaudibility of sounds from

adjoining spaces. Practice rooms have less

critical sound-isolation requirements.

although even these will not be really

satisfactory unless more than the usual

classroom separation IS provided. Large

rehearsal rooms and recital halls often can be

placed In separate units and achieve the

isolation they require almost automatically.

Effective sound isolation between rooms is

62.

gIven by heavy, airtight walls, floors and

ceiling construction systems. Although, no

matter how heavy a wall IS made, some

flanking of sound will occur through the floor

and ceiling slabs of adjoining spaces. More

complex constructions than those usually

satisfactory In classroom buildings are

therefore mandatory. The structure of the

building must be protected from air-borne

and structure-borne sound waves by the

addition of a resiliently separated layer of

plaster or concrete. This type of floated

interior construction also gives isolation from

the structure-borne sound of pianos, cellos

and other instruments that drive the floor

directly.44 The needs for such high sound

isolation preclude the possibility of using

natural ventilation. Air must be supplied

through sound-absorbent, lined ductwork and

returned through lined ductwork, possi bly

incorporating silencers if lengths of ductwork

between spaces are inadequate. Because there

may still be some audible musical sound from

an adjacent space, there must be a moderate

background noise level In teaching and

practice spaces In addition to the sound-

isolating construction. This usually means

counting on the air conditioning system for

slightly audible amounts of air noise. In air­

conditioning terms, this is a background noise

spectrum of NC 30-35. Such a background

noise will in no way interfere with normal

activities in teaching spaces and will very

effectively mask or conceal the tiny amounts

of sound energy that inevitably intrude with

even the best construction. Such a masking

background also can be useful in the music

library to hide both speech and musical

intrusions from other activities there. Music

listening rooms associated with the library

need the same sort of construction as teaching

studios. including the moderate continuous

background noise. Because mechanical

fig. 38 Representation of construction to control the transmission of air-borne and structure-borne

sound.

63.

systems are at times unpredictable or erratic,

it may be helpful to generate the masking

sound electronically. Recital halls, and any

space to be used for recording or musical

performance must be completely free of

noise; absolutely no masking noise can be

tolerated there. Sound absorbing treatments

should be used in all corridors and lobbies to

minimize the transmission of sound. Doors to

all isolated rooms must be of special sound­

isolating construction, and they must be fully

weatherstripped on all four edges. Any leaks

or cracks, no matter how small, will nullify

the effectiveness of these doors. 45 The

weatherstrips must be maintained and

adjusted from time to time to keep them

airtight. Even the best acoustical doors

available today are not as effective In

containing sound within a room as are well­

designed and carefully constructed walls.

Glass vision panels in a door or glass wall

panels can weaken the sound isolating

capabilities, too. unless they are double­

glazed with a deep airspace between,

properly installed and carefully sealed. In

critical areas they should be avoided. Use of a

sound lock at entrances to practice areas.

rehearsal rooms or auditoriums IS often

advisable. A sound lock consists of two

separate doors wi th a vesti bule between

them. After the required isolation has been

provided, it must be determined how these

isolated spaces sound to their occupants. The

acoustics problems in small practice rooms.

and even in medium or large rehearsal rooms,

are quite different from those in large recital

halls. The acoustics of a good recital hall

enhance the beauty and balance of the sound.

A good rehearsal room in the educational

facility. on the other hand, is designed to

fulfill its function best as a teaching station;

clarity and focus on individuals are important

if preCISion, intonation and other

fundamentals of musicianship are to be

analyzed and improved. Spaces that vary 111

size will vary in sound, and their treatments

must di ffer accordingly. An undertreatcd

small room can be loud, harsh, muddy and

quite unacceptable for any music uses.46 The

reverberation time in a small studio must be

considerably lower than that considered ideal

for a large rehearsal room. In the small

64.

practice room or teaching studio, there are

stronger resonant frequencies in the audible

range that must be suppressed. In some

cases, the control of these resonances may

requITe that the room have certain

proportions of dimension. In larger rooms,

where the predominant resonances are at

sub-audible frequencies, proportions become

less important than basic requirements for

height and width. Sound absorbing materials

in a small music room generally are required

on at least two adjacent walls and the ceiling.

These materials should be effective

throughout the full frequency range. Acoustic

tile glued to a ceiling is not as effective in the

low and middle frequency ranges as is a

suspended lay-in system. For reverberation

control, either a sound-absorbing ceiling or

fully-carpeted floor can be incorporated. A

curtain track along one wall allows a heavy

drapery to be either extended across one wall

or pushed back into the corner to vary the

reverberant characteristics of the space.

Flutter echo or ring, caused by the reflection

of sound back and forth between parallel

surfaces. can be avoided by installing

absorptive treatments to eliminate hard

opposing parallel surfaces or by avoiding the

parallelism itself. It can be avoided either by

skew or tilt of the walls, or by such added

devices as tilted blackboards, bookcases filled

with many objects or modulation of the wall

surfaces with large irregularities. Whether

the room is finished in plaster or wood is a

matter of individual preference, and a wide

variation of treatments can produce

acceptable results. Small practice rooms and

studios can be made comfortable to the

occupant and exterior windows are

acceptable here.47

Rooms for teaching and practicing the organ

call for special consideration unless they are

for the small electronic instruments that can

be accommodated satisfactorily in a regular

practice room. Studios for pipe organs must

provide adequate space for the organ's

console, pipework and chest. For acoustical

reasons, the organ studio should be large

enough in volume to provide the instrument

with space to speak out properly. It should

be hard-surfaced but with some acoustical

flexibility so the organist can adjust the

65.

dryness or reverberance of he room to suit

his preferences. The larger the volume given

to the instrument, the better.

Large classrooms do not have the problem of

low frequency resonance because the

principal resonances will be below the audible

range. It is still important, however,to avoid

flutter echoes between parallel wall surfaces

and to control the reverberation time with

adequate treatment on wall and ceiling

surfaces. Fairly extensive treatments are

needed to ensure that the low-frequency

reverberation is not too long, but that there is

still some life In the room to enhance the

quality of musical sound. Placing acoustical

tile on the entire ceiling, as is done in other

classrooms. is not conducive to the best sound

for music teaching.48 The ratio of reflective

to absorptive material depends on the size

and shape of the room, among other factors.

Large rehearsal rooms for instrumental and

choral groups often suffer inadequate volume.

A large instrumental rehearsal room should

have at least a two-story ceiling for

satisfactory conditions. Here. as In the

teaching studios and classrooms. parallel hard

wall surfaces should be avoided. The ceiling

should have a mixture of sound-absorbing

and sound-reflecting surfaces to enable the

mUSICIans to hear each other. Rehearsal

rooms should not be too reverberant in order

that the faulty performers can be identified

and corrected readily. As in teaching studios.

large areas of heavy drapery sometimes are

provided for extension across one or two

walls to vary the characteristics of the room.

It will also make the room serve better the

needs of both band and orchestra. since a

more reverberant room is needed for

orchestra rehearsal than for band:~ 9 The use

I. Drama. lecture, movies 2 Hand concerts

J Plano recitals 4. (lumber music

5. ,\\uslcaltheatre 6. Opera

7. Orchestra concerts

8. ChOir with orchestra 9. Choir alone

10 Organ

Dry

HnTrhn.IIlI

fig. 39 Types of performances on scale of dry to reverberant conditions.

66.

of capeting In rehearsal rooms does I iUle if

anything to counter the loudness and

boominess that are the greatest threats to

good rehearsal room sound. These factors are

better controlled by fixed sound-absorbing

treatment of much greater depth than

carpeting provides. Placing absorption so

close to the performer is unnatural and

encourages forcing In tone production.

Placing carpet under the percussion section to

reduce its sound level makes some sense, as

does sound-absorbing treatment close to them

on the walls. But most players will hear

themselves and the other performers better

on a hard, reflective floor surface. Good

sound distribution IS as important as

reverberation time in a rehearsal room. It

should be remembered, that if the rehearsal

room is to be used for recording purposes,

good acoustics, quiet lighting and ventilating

systems and enough volume for good musical

sound become critical design considerations.

The recital hall can be a quiet space even in a

dense city location if the audience chamber is

treated as an isolated area separated from

other areas by heavy wall and roof

construction. closed doors, lined ducts, and

other positive noise control measures. Noises

in spaces surrounding the recital hall, such as

the lobby, can be reduced with heavy sound­

absorbing treatments. 50 Ceiling height in the

recital hall should be adequate to provide the

volume required for proper reverberation

time. Since an organ, piano or other

instrument requiring less of a live space is to

be located in the recital hall, heavy draperies

may be desirable at certain locations to

achieve a lower reverberation time. The

chairs in the recital hall should always be

fabric upholstered to give a reasonably

constant reverberation time regardless of

occupancy. The hall should be more or less

rectangular; circular forms should be avoided.

The action of the ceiling as a reflector,

bringing sounds down on the audience is very

important. This sound mirror is the most

important surface In the room for

determining good distribution and adequate

loudness. The walls and ceiling surfaces

should provide a high degree of sound

diffusion through irregularities. The stage

area, in particular, should be designed for

67.

good reflection of sound to the audience as

well as to other performers on stage. The

ceiling height above the performing platform

should not exceed 20 feet and the walls

surrounding the platform should be skewed

to avoid parallelism. Some people express a

prejudice for using wood as the finish

treatment In a recital hall, but equally

satisfactory results can be had with plaster.

To hear well, the audience must be provided

with good sightlines to the performing area.

The proximity and shape of the seating

pattern in the recital hall affects the rapport

the musicians establish with their audience.

Viewing distances between the audience and

stage should be made as short as possible. The

background noise from the air conditioning

system and from other spaces should be

inaudible in the recital hall. Here, a masking

noise would reduce audibility of the musical

performance.

seldom use

recital halls

lectures and

Although. musical performances

electronic amplification. most

have in-house sound systems for

other performances.5 1

fig. 40 Uniform distribution of reflected sound can be assured by proper ceiling design.

HaU

Teelro r...ol6n, nucnoa Ains C~'f' :\lu,.jkv('fTi~ ... L Vienna

La Sea la, :\ iii. D

Coooer~Lou_, Am,tcrdllm Sladl-Cuioo. Burl Bin, ... Ua'Oomah. JervaJma

Cotutrudioll

AU •• u. .nd oriUn, I.MI 01 plutn, tI~ the .la,e tnclo.ure. .hicb i. of .ood tba, .vrnrn more th.n ~ of .n illrh in thickDe& AU •• Ila .nd «iUn, Ire 01 pluter, 'nelud· 'or tho It.«e tnclo,ure. AU •• Ila .nd CC"ilinll are 01 plult'f'. AU _.11 •• nel ccilin, .rt 01 pla.h1', (,U'f'pt

around the lla"e, -IM-tt' tlwn u ... JlltJ vi medium thkkDe"&. AU baJ..'OGJ race. .nd onliOC are 01 pl.ltlT. The bo, opt'run,.. an hi,hl, 1OUnd· .1..otxLt'Dt .t .U rfe4~ o.i", Lv

pt"Upie. chain, .nd dl1lpoTWs. AU •• u. .nd cnlin, art 01 plase". AU •• u. .nd 0I'i1i", an oJ plaltu. Ctilinr .. 01 p&utt'l". Side •• 111 are .ood directly allUed &0 piult'l".

fig. 41 Construction materials of eight acoustically excellent performance halls.

68.

MECHANICAL SYSTEMS:

The major problem in ventilating a recital hall

is to move sufficient air without creating

drafts or disturbing noise. Since windows are

not desirable in the recital hall, all ventilating

has to be mechanical. Most ventilating and

aIr conditioning equipment is noisy, and too

many recital halls suffer from a high ambient

nOIse level. Special engineering and

installation practices are required, and

maXImum acceptable levels should be

specified for each area, using the numbers of

applicable Noise Criterion Curves. An NC of

25 is needed in a rehearsal room or music

classroom and an NC of 30 or slightly above in

a practice room or teaching studio where

some masking sound is considered desirable.

Air conditioning equipment, cooling

machinery, and ventilating fans should not be

in close proximity to the recital hall. Ducts

should contain acoustical lining as well as

baffles to prevent the transmission of these

machinery noises. Keeping the noise level low

can be accomplished in part by moving a

large volume of air at low velocity. A good

air-conditioning system includes humidity

control, which is very important where pianos

and wooden or string instruments are stored.

Changes in humidity also can affect some of

the percussion instruments. It is desirable to

have a constant humidity year-round In

music storage, rehearsal and performance

areas. 52

69.

LIGHTING:

A well designed

have lighting as

considerations.

environment for

mUSIC environment must

another of its initial

A satifactory visual

all music teaching and

performkng areas, with adequate illumination

In specialized areas must be provided.

Satisfactory lighting for the music school

cannot be realized without an understanding

of the visual problems encountered. Some of

these considerations are:

1. Musicians are expected to read rapidly and

accurately while also following the

conductor's motions.

2. Inconsistent size of music symbols, lack of

uniformity in manuscript and printing

methods adds to the difficulty in reading

important details.

3. Irregular seating arrangements can place

sheet music at an unusual distance from the

eyes and force students to face the

conductor from various angles, complicating

the problems of glare.

4. The angle of lighting is critical In

performance situations where performers

must look up at the conductor as well as

view their music. This places certain

strictures on the use of front lighting in a

recital hall.

5. Music rooms are used day and night.

summer and winter for varied activItIes.

some of which are nonmusical and have

many different lighting requirements.

In addition to the visual problems listed, the

lighting system in any space devoted to the

teaching, rehearsing or performing of music

must comply with rigid noise requirements.

The level of illumination must be sufficient in

footcandles, but even more important is the

elimination of direct and reflected glare, high

contrast and shadows. 53 A minimum of 30

footcandles for reading simple scores and 70

footcandles for complex scores is compatible

with the I.E.S. published standards. This

would indicate that no less than 70

footcandles be provided by general

illumination in the rehearsal room or on stage.

If proper diffusion and good angles exist. this

should be adequate for the performance.

Some carefully-placed front lighting helps to

soften shadows and improve the visual image

70.

for the audience. Natural lighting offers

opportunities to raise the ambient interior

brightness in classrooms, teaching studios and

practice rooms. Where flourescent lights are

specified, they must have type A quiet

ballasts that will not interfere with teaching

or rehearsing in music rooms. Crucial areas

where recording is done should be lighted

with incandescent fixtures that will not cause

this noise problem.S 4

71.

SITE ANALYSIS

SITE ANALYSIS:

One might first imagine the most appropriate

place for the educational environment of a

conservatory located far away from the often

disruptive activities of a large city. However,

the students and falculty of a conservatory of

musIc can benefit most from a large

metropolitan area providing vanous external

stimuli associated with a variety of urban

activities. A dense urban area such as the

city of Dallas, can provide the conservatory

with access to such facilities as a large

symphony hall for performances by the

conservatory's orchestra and various musical

events for students to attend. A large city

that offers a variety of cultural activities

conducive to learning experiences, can attract

the finest fa1culty and students from around

the country. The proposed site for the Dallas

Conservatory of Music is undeveloped land

located on the northern boundary of the

Dallas Arts District, separated from it by the

Woodall Rogers Freeway. The site is bounded

on its southwestern edge by the Maple-Routh

connector which curves around the site

running in a southeast to northwest direction

between Woodall Rogers and McKinny

A venue. Across Maple-Routh to the West,

construction was begun in June of 1990 on

the new Federal Reserve Bank to be

completed in June of 1992. To the northwest

is the Cresent project, a 1,200,000 square foot

building containing offices and a 216 room

hotel. The eastern boundary of the site IS

defined by Routh street, which separates it

from the State-Thomas Historic District, an

area dedicated to the renovation of houses of

the early 20th century. North of the site,

runnmg m a east-west direction, is McKinny

Avenue, a commercial district with vaTlous

restaurants, shops and a trolley that operates

between the area and the Dallas Arts District.

73.

The southwestern edge of the site provides a

view of the Dallas skyline with the Meyerson

Symphony Center in the foreground. The

Symphony Center is two blocks from the site

and provides the conservatory's orchestra

with access to excellent facilities for

rehearsals and performances. The Meyerson

Symphony Center located within the Dallas

Arts District was designed by I. M. Pei and

seats 2,200. The facility is considered one of

the finest symphonic performing halls in the

world and offers year-round performances by

The Dallas Symphony Orchestra and other

vIsItIng instrumental groups and soloists.

Also located in the Dallas Arts District. within

walking distance from the site, is The Dallas

Museum of Art. The site is most easily

____________ ••••• a~ft .... _ ...... __ 11_

74.

accessed VIa the Woodall Rogers Freeway

from US 75 and IH 35E, with a umque

approach to the site along the curving Maple- ~ Routh collector.

Design solutions should sensitively address

the State-Thomas Historic District to the east

and resolve conflicts resulting from the close

proximity of the Woodall Rogers freeway and

the need for a suitable musical environment

for the conservatory. Design solutions should

attempt to maintain VIews of the Dallas

Skyline and Meyerson Symphony Center to

the southwest, and make use of the existing

oak trees on the site, most ideally within the

courtyard area. The design solutions should

also address the unique approach to the site

along the curvIng Maple-Routh collector.

'-~~_7~.-....... ~ .. _. . ..,~ '-"'~'~.n-: ". ,. u· ....... · .... ~~ ..,..,.. ... ;

"iM t )'>':~;.,g F~ -?'" .~74-.r,.1 :;t;" -- -.-........ ---- -- ~?:( .... ,.'" ....... ..:...:....-

3. View toward intersection of Thomas and Maple-Routh at northwestern corner of

the site.

75.

.... -

'.~,,,

;~ITC

ENVIRONMENTAL DATA TABLE 1 NORMALS, MEANS AND EXTREM ..

DAllAS - fORT WORTH. TEXAS LAT I TUDE: 32 °54' N LONGITUDE: eH °02' W ELEYATION: rT GRND 551 BARO 00575 TIME ZONE' CENTRAL

I a I JAN FEB MAR APR MAY JUNE JULY AUG SEP OCT NOV TEMPERATURE or:

Nor-mals -Daily Maxlmu", 54.0· seLl &7.2 7&.8 84.4 '33.2 '37.8 '37.3 8'3.7 7'3.5 &b.2 -Dai Iy Mini",um 33.'3 37.8 44.'3 55.0 b2.'3 70.8 74.7 73.7 &7.5 %.3 44.'3 -Monthly 44.0 48.5 5&.0 bS.'3 73.7 82.0 8b.3 85.5 78.& &7.'3 55.5

Extr-emes -Recor-d Highest 32 1'3~t 88 % '35 103 113 110 108 lOb 102 8'3 -Year- 1'35'3 1'374 1'372 1'385 1'380 1'380 1%4 1'385 1'37'3 1'355 -Recor-d Lowest 32 4 7 15 30 41 51 5'3 5& 43 2'3 20 -Year- 1%4 1'385 1'380 1'373 1'378 1%4 1'372 1%7 1'384 1'380 1'35'3

NORMAL DEGREE DAYS: Heating Ibase b5°rl b51 4b'3 313 85 0 0 0 0 0 Sb 300 Cooling Ibase b5°FI 0 7 37 112 275 510 bbO &3b 408 14b 18

% or POSSIBLE SUNSHINE 7 53 Sb 58 &4 b5 72 80 78 73 5'3 58 MEAN SKY COYER Itenths'

Sunrise - Sunset 32 MEAN NUMBER or DAYS:

&.1 5.7 5.'3 b.O 5.8 4.8 4.2 4.2 4.7 4.7 5.2 Sunr-ise to Sunset

-Clear 32 '3.8 '3.'3 '3.b 8.7 8.4 11.2 15.3 15.2 13.0 13.4 12.1 -Par-tly Cloudy 32 5.7 5 7 7.5 8.0 10.'3 11.5 '3.3 10.0 8.5 7.5 b.O -Cloudy 32 15.5 12.7 13.'3 13.3 11.7 7.3 b.4 5.8 8.4 10.0 11.'3

Pr-ec ipi tat Ion .01 Inches or mo""e 32 7.0 b.4 7.3 8.1 Snow, Ice pe II e Is

8.b S.'l 4.8 4.& b.8 &.1 5.7

1.0 inches or- more 32 0.7 0.4 0.1 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0._

Thunder-stor- .. s 32 O.'l 1.7 4.2 &.0 7.3 5.8 4.8 4.5 3.5 2.8 l.b Heavy Fog Yisibi I ity

32 2.7 1 . 7 1.1 0.7 0.4 0.1 0.0 0.' 0.1 O.'l 1.5 1/4 ",i Ie or- 18ss Tem~er~tur-e F

- aXbmum 22 0.0 0.0 0.2 O.b 3.8 1'l & 27.8 2&.'l 14.2 2.& 0.0 'lO and above

320 and below 22 1. 'l 0.7 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 -Minbmum

22 lb.O 10.0 2.7 0.1 0.0 0.0 0.0 0.0 0.0 O .• 2.5 32 and below 0° and below 22 0.0 00 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0

AYG. STATION PRESS.lmbl 13 'l'l'l.7 'l'l8.0 'l'l3.4 'l'l3.2 'l'lI.b 'l'32.8 'l'l4.2 'l'l4.1 'l'l4.8 'l%.4 'l'l7.2

RELATIYE HUMIDITY IX. Hour- 00 22 73 71 71 73 7'l 73 bb b7 74 74 74 Hour- Db ILocal Timel 22 7'l 7'l 80 82 87 85 80 80 84 82 81 Hour- 12 22 &1 5'3 57 57 bO 55 48 50 5b 55 57 Hour- 18 22 5'3 54 51 53 57 50 44 44 53 5& 58

PRECIPITATION Iinches': Water- Equivalent

-Nor .. a I 1.&5 1. 'l3 2.42 3.b3 4.27 2.5'l 2.00 1.7b 3.31 2.47 1.7b -Maxlmu .. Monthly 32 3.&0 b.2:) b.3'l 12.1'3 13.&b 7.85 11.13 b.85 '3.52 14.18 b2) -Year- 1%8 1%5 1%8 1'l57 1'l82 1'381 1'l73 1'l70 1%4 1'l81 1'lb4 -Minimu .. Monthly 32 0.13 0.15 0.10 0.5'3 O'l'l 0.40 O.O'l T 0.09 T 0.20 -Year- 1'37b 1%3 1'372 1'383 1'377 1%4 I'lbS 1'380 1'384 1'375 1970 -Maximum in 24 hrs 32 2.3'3 4.0b 4.3'3 4.55 4.8b 3.11 3.7b 4.05 4.7b S.'l1 2 83 -Year- 1975 1%5 1977 1'l57 1%5 l'!bb 1'375 1'37b 1%5 1'35'l 1%4

Snow, Ice pe I let s -~aximu .. Monthly 32 12. I 13.5 2.5 ,

S 0 Year 1%4 l'l78 1%2 lq7!,

DEC

58.1 37.4 47.8

88 1'355

5 1'383

533

0

58

5.5

11.5 b.3

13.2

b.O

0.1

1.0

2.5

0.0 08

10.0 0.0

'l'l8 b

73 7'l 5'l 58

1.&7 b q'l 1 'l71 0.17 1'l81 3 10 1 'l71

2 b l q "J

YEAR

7b.'3 55.0 bb.O

113 JUN 1'380

4 JAN 1%4

2407

280'3

b5

5.2

138.2 '37.0

130.1

77 ')

1.3

44.1

11 . 7

'l5.8 3.4

41.3 0.0

'l'l5 3

72 82 5b 53

2'3.4b 14.18

DC I 1'l81 I

AUG 1'l8 o q

S '11 OCI I'lS

13 rE8 1'1 .

77.

78.

TABLE 2 PRECIPITATION (Inches) DAlU.S - fORT WORTH. TEXAS

YEAR JAN FEB MAR APR MAY JUNE JULY AUG SEP OCT NOV DEC ANNUAL ·im 1:~~ T~~ t'B ,t:~ ,~.~~ ~ ~~ g ~~ g.n U~ 3 ~~ n2 n~ ~~IT

''15B '.70 0.11' 5.''1 B.E.3 , .50 O. &1 3 &'1 3.&' 5. '0 '.01 2 2& , .0'1 35.IoB "5'1 O.ll. '.I.' 2.3' 0.'12 3.27 5.21 ) 27 0.'13 2.'0 '1.22 '.74 2 B' 3'.14 1'1100 2.2'1 2. 'I. O. 7f , . &1 , .8'1 '.72 ) % 2 7& I. 25 , .82 0.''1 '.22 2'.'17 "101 3.2' 2 20 2.'5 2.23 1.0E. 5. '3 2. 32 0 02 2. '2 2 B2 2. 72 2.12 30.5B 1%2 1.00 2 01 1.BO 5.&& '.5B I.. 'I' I.. 310 ) 22 3. 7'1 • . '5 ) .'3 O. '1'1 .. ') '%3 O.BI. O. '5 O. 'B ".20 2 52 O. 57 2 28 2 73 , 70 0 23 , .n , '5 20 '10 '%' 3.53 , . 17 3.35 2 71 2 85 0 .'0 0 25 2 ') , 52 0 102 I. 2) , 25 3'.)' '%5 2 71 ".20 '.'5 2. '5 8'17 , . 50 0 0'1 2. 210 5 . O' , '17 2 '3 1 .73 310.510 '%1. , foB 2.B' '.3B '0. ,. 3 '3 5 f1 3 210 3. 38 • 23 1 . '8 0 53 , 17 3' 2' ,% 7 0 2B C.32 2 0'1 3. ao • 02 0 .72 2 .20 0 '8 5 'If '. ''I 0 .'12 2.30 27 30 I'II.B 3 . 100 , '8 ".3' 2 ... .. 02 3 50 , .B8 2 .71 2 53 2 '8 • .58 , 20 3B.'B '%'1 , 2& 1.'1'1 3.&2 3 . '0 7 12 0 .3 0 77 2 .510 • 55 5 .82 , 22 2 75 35 .• '1 1'170 0.72 '.78 l.''1 • . bB 3 102 0 .' O . 'I' I. 85 .. 25 2 '15 0 20 1.0' Jb '0 1'171 O. 1'1 I 32 0.3' 2.7& , 88 0 B3 J 1.0 5 70 J 2' 7 b' , .17 I.." 31..2& ''172 , 0'1 0 21. 0.10 3.25 2.JS , 0;0 0 0;'1 0 B' 2 '2 & 8' 2. 3& o I.' 22 23 ''173 3 .2& , .,. 2.28 &.0& 3. '8 0; .88 " • 3 0 0' 7. 1& I. BS 2 010 0.B3 50 1.2 ",. I 7'1 , .0' 0.80 2.5' & 00 5 .. 0 1.7 '. 1'1 I. O' 5 '1J 3 32 1 . '13 ]'I 1.3 ''170; 3. H J.72 1 101 3 '0 .. BB , .'5 5 01. O. 30 0 87 , 0 .'2 , .4Ict 2' 10 ''1710 0 13 0.52 2. 2' 5 .7' .. . OJ , .'0 J 8J ' . 75 5 .02 3 '10 0 50 1. 'I' J5 103 1'177 2 J'I I loB 5. B8 • .3' 0 ." 0 I., 2 20 2 JJ 1 72 2 ,I. 1 7' 0.25 27 1'1 1'17B , . , J 3J 2 .&10 ' . 3f 8 .0' O. 17 0 II , 53 0 '13 0 55 2 73 0 7B 2'.37 1'17'1 1 J5 , .0;2 I. 3J 2. 03 5 '10 , JI. , 'I' 2 ., 0 .'1'1 J J8 0 'J 2 72 J2 '2 ''1BO 2 52 o B' , .2' 2 23 3 .0' , 25 0 71 , & .5' • 08 , 2J , 'J 22 08 1'18' 0 .58 , .. J.3'1 2.&'1 .. .2' 7 Bo; , .81 2 32 2 '0 " . '8 1 53 0 17 •• &0 ''182 2 JJ , .8'1 , .71 2.71 13 ... 10 • 28 2 7J 0 52 0 58 3. 3& • 22 2 . 1& '0 75 I'IB3 2 .55 , 25 '.3& 0.5' 5 83 2 01 , . 5& 5 55 O . 22 • O. 2 22 0 83 J' 07 I'IB' 1 .07 3 " • '2 1 .• , 3.0' 2 ~3 0 'J , f1 0 0'1 & 50 2 '17 & 0' 3J 8'1 I'IB5 0 8' 2 &2 3 70 3.75 2. '3 J 2 '0 0 .5J J 35 J '11 3 " 0 I.' JO 70

R.co,-d Mean '.80 '. '18 2 .'0 3 .80 • 10 2 '12 2 2' :2 n 2 .85 3 O~ 2 2' , '15 J2. 13

TABLE 3 AVERAGE TEMPERATURE (deg. F)' DAIl..AS - fORT WORTH. TEXAS

YEAR JAN FEB MAR APR MAY JUNE JULY AUG SEP OCT NOV DEC ANNUAL

:m :; -; ~ ~~ : :~ : ~1 1r~ :~ ~ ;~ i .2 ~ ~~ . ~n .b 5' , 71 5 I. •• 8

''158 .. , 'J. • '8 7 •• 5 7J , 82 J 85 7 as 0 78 • .5 8 57 • 'J .. I.' 2 "5'1 '2.5 '8 , 51. .. .. ] . 75 , 80 7 I] , 8' 5 " 7 1010 • ., 5 50 2 .. 5 0 'Cf~O .".1 '3 0 ., , ,7 ] 7. .0 12 • 8' .. 8' 0 ". • 70.0 57 .5 'J 7 b' 8 ,lit,,' '0 .. '50. 3 5'.3 ... 0 7] • " • 12 ] 12 7 7" • .7 ] 52 7 '5 1 •• 5 ''1(,2 H I. 5J J 5' 0 ... J 17 • " 'I 85 5 85 .. 77 , 70 • 55 5 ., 2 .. 5 8 II'IbJ J7 8 '10 • "'.2 70 • 75 0 8J • 87 • 87 ] ". 2 7J 5 5B • '0 3 H.1 PH,· '3 a 'J .1 55 .. .... 8 7J 2 8' 0 87 • 85 J 7!. , .J .. 57 I. ., , 105.2 '%5 ., . • '5 8 ., 0 .8 • 72 , " 'I 810. J 8' • 7'1 • .. 10 .. 102 'I 52 8 H • ''11010 '0 3 '5 .. 510 3 .. 3 8 10 8 "

, II. J 82. 7 75 .8 .. 5 0 100 7 '5 J •• .' ''11.7 '8. 3 •• .8 .J J 71. • 71 • 8' • 82 'I 83 , 7 •. , loS • 55 10 ., 0 .0; , ''I(,B .. .' ... • 0;' • "3. • 72. • 7'1 5 8' 0 8] 0; ,. .. ..7 8 5] 'I ., • .] ., ''1(,'1 ., 0 SO. 0 .,. 8 .0; • 71 .'1 " 8 87 , 8' 2 17. , .0; 3 55 , ., 'I .0; .5 "70 '0 .. '8 .1. 52. , "I. 2 7' .7 7'1. , 8' 0 85 8 78.2 .5. , 5' 7 5] 10 .5 0 ,,7' •• 7 ., 2 55. .. .... 0 70 5 82. 'I 8' • 7'1 . 5 17 . , 10 , 57. 0 52 2 .. 5 8 "72 '5 0 OS' .5 .2. 1 10. , 12. 7 8' • 8J • 8' 7 80 8 "7 .5 50 , .. 0 lob. , ''113 '2 .5 ., . 'I "0. 0 .0.7 71 7 " ] 8] ., 82.' 7!. , 108 .] 5' 8 '8 • 105 , ,,7. '3 .10 52. 3 "2. , 105.8 75. 1 18 7 810 , 82 , 70 , 10'1 .2 55. 0; ., 2 105 , ''175 ., .0 ... I. 53. 8 I.' 1 72. • 80 , 8] I. 8' 8 75 • I.' 8 57 . J ., 0 .5 I. ''1710 '5 .0 58. • 5' .' ..... .8 I. 78 I 12 • 8' .2 7. ., .0 2 ., 5 '5 0 ,. 3 ''177 3' .7 ''1. • 57 .2 "10.8 77 • 8' • 87 , eo ., 8' • I.. 7 510 • ., . 10 .... 2 ''178 II .8 3b. 7 5' , '7.1 73 • 82 .] 88 • 8' • 80 .2 .8 , 57 7 •• • ,. • ''17'1 ]5 • '2.2 5'.1 , .... .'1 .7 8' 0 8' .5 82 5 17 .0 70 8 52 , ., • ,J q '''80 '5 .0; '1..10 5'.2 '3 , 75 0 87 0 '2 .0 88 5 80 .] .5 • 5' , ., • •• 8 ''18' .. .. .~ ., 55.7 ".2 70 .5 80 3 85 .'1 BJ • " . 2 ... • 5' 5 • 7. J .5 • ''182 .. .. .. 5 5'1.B t.2.5 72.5 7'1 2 8' .. 81. 7 7B. , .., .0 55 • . ., 2 .5 • "B3 'J. • '8 .5 5'.5 .0 • ".5 17 J 8J .. 8' q 17. , .., 8 5' ] 3' I .J ) ''18' H 3 . 50 .'1 5".J "3.7 73.7 82.5 85 . 5 85 e 7 ... , ,,7 0 s· .. 52 . .. 1.5 , ''185 ]7 .8 '5 .0 "0.8 1.7.2 ,. .0 80.2 8' • 87 I. 77 1 "7 ... Sb ] 'J. ] .5 •

R.c.ord ..... n ''5 .0 '1 .. 'St.." '5. 2 72. 7 10. 'I I' .. 8' 7 77.' U .7 '5'

~I ., .'5 .., • 11 ... '55 3 5' J .' ., 75. B 82. 7 " , '5. 0 '15 J 88 2 " .5 •• 57 • a • Hi .... 14 7 17 " '5.8 5' '5 "2. , 70. 7 ,. 2 7. 0 .. 7 • 5. B '5 ]1 • 55 ,

79.

TAlllE 4 HEATING DEGREE DAYS Base 65 del. F DA~ - FORT WOHTli. TEXAS

SEASON JULY AUG SEP OCT NOV OEC JAN FEB HAR APR HAY JUNE TOTAL

l~~~':~8 g --g g ~:r .~~~ :~~ ff~ ~q2 ~~b ;~~ 2" g ~~~~ ,"58-5" 0 0 0 82 247 b5" bYO 452 27b '43 4 0 2';;';;3 ,.,5.,-bO 0 0 0 b8 470 450 b43 b3., 4"" 54 32 0 2855 '''bO-b' 0 0 0 45 253 b59 740 40., 20., '32 '1 2 2457

,.,&,-&2 0 0 0 50 39' 5.,0 79' 329 345 '07 2 0 259. .'''b2-b3 0 0 0 4b 290 545 93., 517 '95 34 , 3 0 245.,

,"&3-&4 0 0 0 4 227 7bO b5' &09 295 b5 , 0 2bO' '''&4-&5 0 0 & 9' 2bO 5~O 550 530 551 lb 0 0 25b4 '''&5-&b 0 0 2 &0 '03 37b 7bO 542 274 94 2b 0 2227

'<:1&&-&7 0 0 0 7" '82 Eo27 5,4 503 ,4b '5 2' 0 2097 '9b7-Eo9 0 0 '3 90 292 549 b3' 599 330 '00 2 0 2594 '<:Ib9-b9 0 0 0 47 349 540 492 41b 4b9 4q b 4 2370 '9b9-70 0 0 0 , 'Eo 30b 4b3 75b 455 404 Eo3 2' , 2585 '970-7' 0 0 7 '05 31b 3b., 5b4 440 307 97 ,., 0 2224

,97,-72 0 0 '2 7 270 39" Eo,5 3"9 '43 2b , 0 ,9b' ,"72-73 0 0 3 <:lEo 44& b44 b.,O 475 '55 '92 ,2 0 2703 '<:173-74 0 0 , 3b '92 50<:1 b5b 352 '73 70 , 0 '''90 '''74-75 0 0 20 'Eo 29b 54b 499 509 355 , '2 0 0 2342 '''75-7Eo 0 0 4 33 2bb 500 b'b 2'7 222 49 20 0 ,.,21,

'''7b-77 0 0 0 2'4 45., Eo,4 <:13' 43' 24' 37 0 0 2q27 '''77-79 0 0 0 55 257 53b .,b2 79b 34b 54 4, 0 3037 ,"79-7" 0 0 0 27 247 579 <:I, , Eo35 2b, 79 2., 0 27bb ,"7<:1-90 0 0 0 34 370 479 5.,7 530 33., '02 b 0 245b ,q90-9' 0 0 '9 9<:1 330 49b b25 449 294 2b 23 0 233" ,"9,-92 0 0 '0 "b 229 54' b25 5&q 232 '40 ., 0 2470 ,"92-93 0 0 , q4 3'b 4.,5 bb3 454 324 ,9b 2' 2 255b ,<:193-94 0 0 ,2 52 2Eo9 .,33 79., 401 291 9" " 0 2937 ,"94-95 0 0 39 Eo Eo 322 39" 937 559 171 37 0 0 241B '''B5-Bb 0 0 ,., 53 2B5 Eo "I,

TABLE 5 COOLING DECREE DAYS Base 65 deg. F DAtuS - roRT WORTH. TEXAS

YEAR JAN FEB MAR APR MAY JUNE JULY AUG SEP OCT NOli OEC TOTAL

, "I Eo "I 3 3 3 Eo7 22B 453 7'5 Eo02 372 '33 ,7 0 25"1b '''170 5 0 7 '09 23b 433 5"15 b53 40"1 "5 , 2 22 25"15 ,"17' 0 Eo 2' 7, '''IS 54b bOb 45b 3B2 ,7' 3b , 24"11 ,"172 2 ,4 57 '95 24"1 4"1B 5b"l b'B 4BO , 93 4 0 2B5"1 ,.,73 , 0 Eo EoO 230 435 5.,3 55" 342 ,4b 33 0 2405 ,.,74 0 2 "'5 '0' 34' 4'" bbO 5b3 202 '53 :;>0 2 2579 '''75 0 0 '5 '07 23b 4B3 5BO b20 33' ,9" 3"1 " 2bO" '<:I7b 0 32 5., 52 '36 42' 537 Eo02 339 72 0 0 2<'5' ,.,77 0 0 7 .,4 3." 59' Eo"3 b2Eo 50S " 2 b 2 30'7 ,.,79 0 0 'Eo ,25 30' 524 733 Eo14 4b2 '53 37 0 2"11,5 ,.,7., 0 , ., Eo7 ,7., 49., b' 3 55' 3bb 220 ,4 0 250') ,.,90 0 0 " 52 320 bb9 B44 737 495 , , 7 35 '0 327"1 ,.,9, 0 5 '5 ,59 200 4b7 b54 577 352 '55 9 0 2591 ,.,92 , 2 77 7, . 252 433 b'4 b7., 403 'EoO 40 '0 2742 ,.,93 0 0 7 Eo' ,7' 392 592 Eo2Eo 39, '45 41, 0 240' ,.,94 0 0 20 EoO 299 53' b44 Eo52 37Eo '35 U. '2 2734 ,"195 0 5 5, ,09 2B7 4bO b09 70b 409 ,3., 2" 0 2801

TABLE 6 SNOWFALL (inches)

SEASON

R H

lm=58 1'58-5' 1'5'-'0 1"0-'1 1',I-b2 l'b2-'3 l'b]-bO l'1b'-b5 "b5-bb l'1bb-b7 l'b7-b8 l'b8-b' 1"'-70 "70-11 1 '171-72 1'172-7] 1 '173-" 1'170-75 1'I75-7b 1"7'-77 1'77-78 1 '178-7'1 1 '17'1-80 1'80-81 1'81-82 1'82-83 "8)-8' 1'184-85 1'85-8b eco,..d _en

JULY AUG

n g:g o 0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 ...8.0 o 0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 o 0 0.0 0.0 0.0 a 0 0.0 o 0 0.0 o 0 0.0 o 0 0.0 0.0 0.0 00 0.0 0.0 0.0 0.0 o 0 0.0 0.0

0.0 0.0

SEP 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0

0.0

OCT NOV DEC 0.0 0,0 ~ ~ 0.0 0.0 0.0 0.3 o 0 0.0 f 0.0 0.0 T

0.0 0.0 0.0 0.0 o 0 T 0.0 0.0 2.b 0.0 0.0 T 0.0 0.0 o 0 0.0 0.0 0.0 0.0 0.0 o 0 0.0 T 0.0 0.0 0.0 T 0.0 0.0 o 0 0.0 T 0.0 0.0 T 1 0 0.0 0.0 o 0 o 0 T T 0.0 o 0 o • 0.0 ~ 0 o 0 0.0 0 0 0.0 0.0 0 0 o 8 0.0 0 0 T o 0 0 0 o 0 0.0 0 0 0.0 0.0 0 0 , 0.0 0 0 2 0 0.0 0 0 o 0 o 0 0 0 , 0.0 0.2 o }

OA\J.AS - fORT WORTH. TEXAs

JAN FEB MAR APR MAY JUNE

f n 0,0 g g g g g g o 2 2.0 0.0 00 0.0 0.0 o , 1.0 f 0.0 0.0 0.0 3.5 2.Q o 0 0.0 0.0 0.0

2.b T 2.5 0 0 0.0 0 0 T T 0.1 0 0 o 0 0 0

12.1 0.2 0 0 0 0 o 0 0 0 o 0 T T 0 0 DO 0 0 • • 2.'1 0.0 0 0 0.0 0 0

0 0 T T 0 0 0.0 0.0 O. • 2.b T 0 0 o 0 0.0 0.0 T o 0 o 0 0.0 0.0

T 0.0 o 8 o 0 0.0 0.0 0.0 T 1 b 0.0 o 0 o 0

T T 0.0 0.0 0 0 0.0 2.3 f 0.0 0.0 0 0 0.0

f o 0 o 0 0.0 0 0 0.0 T ].7 f o 0 0 0 o 0

0.0 0.0 T o 0 0 0 o 0 ~ . o 0 o 0 0 0 0.0 0 0 4 1 1) 5 T 0 0 o 0 0 0 1 a 0 7 o 0 0 0 o 0 0 0 o 0 l.b o 0 0 0 o 0 0 .0

T f o 0 0 0 o 0 0 0

o 8 f 0 0 0 0 0 0 0 0 1 T 0 0 0 0 0 0 0 0

o 0 o 0 0 0 0 0 0 0 0 0 ) 4 1 7 0 0 0 0 0 0 0 0

1.5 1.1 o 2 o 0 0.0 00

RI!PI!RI!Ne. NOT.S POR TABLI!S 1, _, a end e (DALUSIPT WORTH, TX,

GENERAL T • TRACE AMOUNT BLANK ENTRIES DENOTE MISSING/UNREPORTED OATA. I INDICATES A STATION OR INSTRUMENT RELOCATION

SPECIFIC TAiLE 1

II" LENGTH Of RECORD IN y(ARS. AI. THOUGH IN04VIDUAI. MONTHS MAY BE MISSING.

• LESS THAll .05

IlQAMAl.S - BASED ON THE 1951-1980 RECORD PERIOD. EXTREMES - OATES ARE THE MOST RECENT OCCURRENCE. WIND DlA. - NUMERALS SHOW TENS Of DEGREES

CLOCKWISE FROM TRUE NORTH "00" INDICATES CAlM.

RESULTANT WIND DIRECTIONS ARE GIVEN TO WHOLE DEGREES

EXCEPTIONS

TAiLE. I. S. IOd'

RECORD MEANS ARE THROUGH THE CURRENT YEAR. BEGINNING IN 1899 fOR TEMPfRATURE

1899 fOR PIIECIPITATION 19!>4 fOR SNOWfALL

80.

TOTAL

0 , 2 5 1 , b 0 5. 1 O. 1

15 3 T

7 3 T

3.0 f

o 8 1 b

T 3.7

T ] 7 o •

10 4 17 b

3 3 1 b

T

0.8 , 2 0 5 1

3 }

COST ANALYSIS

COST ANALYSIS:

Dallas Conservatory of Music

I. SQUARE FOOTAGE A. Enclosed space

assignable circulation

total bldg. area

I I . PROJECT COST ESTIMATE A. Construction: (per sq.ft.)

general conditions concrete masonry me tal s wood thermal & moist protect doors & windows drywall sound absorbing panels flooring painting & staining specialties equipment & furnishings

27,850 sq.ft. 7,845 sq .ft.

35,695 sq.ft.

low

5.52 3.80

15.10 3.89 4.30

.90

.36 5.88 5.39 3.16 3.71 2.71 8.68

hi g h

6.10 4.20

16.71 4.30 5.10 1.00

.40 6.50 5.80 3.50 4.10 3.00 9.60

81.

acoustical construction audio masking system mechanical-pi umbing HVAC electrical

subtotal x bldg. area

7.70 .42

7.41 15.28 11.12

$105.33 x35.695

$3,759.755

10% contingency $375.975

construction cost index $676.756 (increase 3 yr. period: 18%)

bldg. construction cost $4,812,486

cost per square foot $134.82

B. Site development: outside utilities roads (asphalt) $.63 sq.ft. sidewalk $2.19 sq.ft. I andsc aping

subtotal

8.10 .51

8.20 16.91 12.30

$116.33 x35,695

$4,152.399

$415,240

$747,432

$5,315.071

$148.90

$.t1,962 $3,780 $1,752

$37.730

$85,224

82.

direct construction cost: $4,897,710

C. Professional services, supervision & administration:

architect/engineer fees 8.5% acoustical consultant architects detailed observation .017% site survey & soil analysis administrative & supervision fees 7.5%

indirect construction cost:

total construction cost: $5,899,294

D. Cost of property: $41.82 sq.ft. $4,580,000

TOTAL PROJECT COST: $10,479,294

$5,400,295

$479,402

$95,880 $3,300

$423,002

$1,001,584

$6,401,879

$4,580,000

$10,981,879

83.

APPENDIX

Acoustic Treatment: The application of design principles in architectural acoustics to isolate noise or vibration and to correct acoustic faults in spaces by additions of absorption, reflectors, or other devices.

Ambient noise: Background or general noise characteristic of an area, often used In

companson with a specific noise source overlay. Ambient noise control is often effected by comparing intrusive noises to reference curves.

Brilliance: Attribute of a hall with clear sound, prominent in treble, rich in harmonies.

Coincidence: This effect occurs when the wavelength of sound in the partition or panel. It results in a loss of sound insulation.

Critical Frequency: This is the lowest frequency at which coincidence occurs. The critical frequency increases with decreasing stiffness of the partition for a gIven superficial weight.

Definition: Degree to which individual sounds in musical performance can be differentiated. Horizontal definition has been used to describe how tones played in succession can

be interpreted, and vertical definition relates to tones played simultaneously.

Dryness: which has some extent

A characteristic of an auditorium a short reverberation time; to the opposite of richness.

Early Decay Time (EDT): 'Initial reverberation time' characteristic measured either over the first 10db. of the time decay process, or over a fixed interval of 160 msec. Values of EDT considerably lower than RT signify acoustic deficiencies.

Echo: Reflected sound discernable as separate from the initial sound by virtue of the long reflected sound path, usually differing from the direct path, by more than 10m.

Flanking: Ability of acoustic energy to bypass a sound barrier at the edges. Good air-borne sound insulation through a floor construction, for example, may be flanked by sound transmission down the walls or through the d uc ts.

Flutter: Rapid echo pattern which can be discerned between parallel walls.

84.

Focusing: Acoustic energy can be reflected from concave surfaces into a concentrated focus, possibly leaving 'dead spots'.

Frequency: The number of cycles per second that a vibrating system completes. Units are cis, or more commonly Hertz. Both have identical value. The audibility depends on its level and on its frequency. The human ear can detect sounds with frequencies ranging from 20 to 20,000 Hz, although increasing age reduces the upper limit.

Haas effect: Effect whereby when two or more sounds are present, the sound seems to come from a single source which is heard first, even though later sounds are more intense. This is used in sound reinforcement systems by time delay loud speakers.

Initial-Time-Delay Gap: Interval between sound arriving directly at the ear and the first reflection that arrives via walls or ceiling. In an intimate hall the initial-time-delay gap will be less than 20 msec.

Intimacy: Impression in sound quality sometimes called 'presence', that the sound source is near. In an auditorium this can occur in surprisingly distant seat locations if they benefit from close reflection surfaces.

Libretto: The text of an opera, oratorio. etc.

Liveness: Attribute of a live hall, imparting fullness of tone to mUSIC In high and mid frequencies.

London Symphonies: Haydn's last twelve symphonies, nos. 93-104, written in 1790-95 for the Salomon Concerts in London also known as the Salomon Symphonies.

Loudness: The subjective judgement by an individual which tends to be influenced by sound pressure and frequency. A typical response is for a three-fold change of sound pressure level to be considered a doubling of loudness.

Loudness level: The loudness level in phons of a noise is defined as the sound pressure level in decibels of a 1000 Hz tone which sounds equal in loudness to the sound which is being rated.

Lute: A plucked stringed instrument with a round body in the shape of a halved pear, a flat neck with 7 or more frets, and a separate peg box set perpendicular to the neck; generic name for a large class of stringed instruments.

85.

Maestro: Honorary title for distinguished teachers, composers, and conductors

Major, minor: Terms used (1) to distinguish intervals, e.g., major second (c-d), and minor second (c-d flat); [see Interval] (2) for two types of scale, triad, or key, which are distinguished mainly by their third, this being a major third (c-e) in the major scale (triad, key) and a minor third (c-e flat) in the minor scale (triad, key).

Masking: The effect whereby the threshold of audibility of a sound is raised by the presence of another. Masking is most effective when the masking sound is of lower frequency than the sound to be masked.

Measure: A group of beats (units of musical time), the first of which usually bears an accent. Such groups, in numbers of two, three, four, or occasionally. five or more, recur consistently throughout a composition and are marked off from one another by bar lines.A

Mechanical Composition: Composing by means of some mechanical device. Kircher (1602-80) invented a box with slides that was supposed to compose music by means of mathematical combinations.

Membrane absorber: A component assembly whereby a solid thin panel is spaced off a solid backing but by virtue of panel flexibility and thickness (less than 20mm), vibrates on the trapped layer of air. The frequency at which maximum absorption occurs depends on the spacing panel to backing and the superficial weight of the panel. The addition of an absorber increases the absorption and extends the frequency range.

Noise Reduction Coefficient (NRC): A single value to express absorption coefficients averaged over the octave bands centered on 250,500, Ik and 2 khz.

orchestration: The art of employing. in an instrumental composition, the various instruments in accordance with (a) their individual properties and (b) the composer's concept of the sonorous effect of his work. It involves a detailed knowledge of the playing mechanism of each instrument, its range, tone quality, loudness, limitations, etc.

ornamentation: Musical ornamentation originated as a spontaneous act by the interpreter who, in performing a written or traditional melody, enlivened, expanded. or varied it through his technique of improvisation.

86.

Orpheus and Eurydice: The touching fable of the "inventor of music" recovering his beloved Eurydice from Hades and losing her again in the moment of their reunion has been used as an operatic libretto more frequently than any other subject.

Pitch: The pitch of a sound is the frequency of an equally loud pure tone which, on average, is judged to occupy the same position on a musical scale.

Pure tone: Sound at a finite, very narrow, frequency band and at no other.

Resonance: The natural vibration of an area of material at a particular frequency as a result of excitation by a sound at that frequency.

Reverberation: The effect whereby a sound builds up in a space or at a point in a space because of multiple reflections from surrounding enclosing walls, floors and ceiling. This may enhance the sound if constant and the sound will gradually die away after the sound source ceases.

Reverberation time: The reverberation time of a room is that taken for a steady sound

when switched off to die away to inaudibility. More exactly, it is the time taken for the sound pressure level to fall by 60 db. The reverberation time is related to the volume of the room and the total absorption of the surfaces of the room.

Richness: A property of sound in an auditorium where there are many repetitions and reflections within a short period. Said to occur higher up in an auditorium because the sound is arriving from more surfaces.

Simple sound source: A sound source radiating sound equally in all directions.

Sound: Sensation of audi bi lity perceiving wave motion in an elastic medium.

Sound insulation: A measure of the ability of a dividing structure to isolate two spaces acoustically.

Sound power: When a source of sound radiates sound in all directions, the total energy radiated in 1 sec. is called the sound power of the source and is measured in Watts.

Spatial impression: A measure of spatial impression is the early lateral energy fraction, which is the energy received within 80msec. including the direct sound.

87.

Structure-borne sound: Sound energy that has passed through the solid elements of the building structure.

Warmth: Fullness of bass tone relative to mid-frequency response.

88.

89. RECOMMENDED LISTENING

MIDDLE AGES PERIOD

PEROTIN

MACHAUT

MACHAUT

Alleluia: Vidimus Stellum Eius Danse Royale Alleluia: Nativitas Je suis aussi Notre Dame Mass: Agnus Dei

RENAISSANCE PERIOD JOSQUIN PALESTRINA

WEELKES

MORLEY A.GABRIEL!

PRAETORIUS

G. GABRIEL!

Ave Maria ... virgo serena Pope Marcellus Mass: Kyrie "As Vesta Was Descending"

"Now Is the Month of Maying" Ricercar in the Twelfth Mode

La Bouree Plaudit, Motet in 12 parts for 3 Choirs

BAROQUE PERIOD MONTEVERDI Orfeo: "Tu sei morta" (Act 2) PURCELL Dido and Aeneas: Dido's Lament

CORELL!

VIVALDI

BACH, J S

BACH, J S BACH, J S

Trio Sonata in E Minor, Op. 3 no. 7:

1. Adagio 2. Allegro

The Four Seasons: 1. Primavera, Op. 8 no. 1

Brandenburg Concerto No.5 in D Major, BWV.1050. (All movements)

Fugue for Organ in G Minor ("Little") Suite for Orchestra No.2 in B Minor,

BWV.1067: 3. Badinerie

BACH, J S

BACH, J S

HANDEL

Suite for Orchestra No.3 in D Major, BWV.1068: 1. Overture

2. Air

5. Gigue Cantata No. 140--"Wachet auf',

BWV.140: 1. Chorus and Orchestra 4. Tenor Chorale 7. Chorale

Messiah: "Comfort Y e;"

"Every Valley Shall BeExalted;"

"For Unto Us a Child is Born;" "Halleluia Chorus"

CLASSICAL PERIOD HAYDN

HAYDN

MOZART

MOZART

MOZART MOZART

Trumpet Concerto in E flat Major: 3. Allegro

Symphony No. 94 in G Major ("Surprise") (All movements)

Eine Kleine Nachtmusik, K.525: 1. Allegro 3. Menuetto and Trio

Don Giovanni, K.527:

Overture

Act 1-- Opening Scene; Catalogue Aria & "La ci darem il mano"

Act 2--Finale

Symphony No. 40 in G Minor, K.550 \:\11) Concerto for Piano and Orchestra 1'\0. 20

in D Minor, K.466 (All movements)

BEETHOVEN String Quartet in F Major, Op. 18 no. 1: 1. Allegro con brio

BEETHOVEN String Quartet in C Minor, Op. 18 no. 4: 4. Allegro

BEETHOVEN Symphony No.5 in C Minor, Op. 67 (All) BEETHOVEN Sonata No.8 in C Minor, Op. 13

("Pathetique") (All movements)

ROMANTIC PERIOD SCHUBERT Quintet in A Major, Op. 114 ("Trout"):

4. Andantino SCHUBERT Der Erlkonig, Lieder for Voice and Piano SCHUBERT Heidenroslein, Lieder for Voice and Piano SCHUMANN Fantasiestucke (for Piano), Op. 12:

2. Aufschwung ("Soaring")

SCHUMANN Dichterliebe, Lieder for Voice & Piano, Op. 48: 1. 1m wunderschoene Monat Mai

CHOPIN Prelude for Piano in E Minor, Op. 28 no. 4 CHOPIN Prelude for Piano in C Minor, Op. 28 no. 20 CHOPIN Etude for Piano in C Minor, Op. 10 no. 12

("Revolutionary")

CHOPIN Polonaise for Piano in A-flat Major, Op. 53.

MENDELSSOHN Concerto for Violin & Orchestra in E Minor, Op. 64 (All movements)

MENDELSSOHN Overture to A Midsummer Night's Dream BIZET L'Arlesienne Suite No.2: Farandole LISZT Les Preludes SMETANA Ma Vlast: The Moldau BRAHMS Symphony No.4 in E Minor, Op. 98:

4. Allegro energico e passionato

BERUOZ TCHAIKOVSKY TCHAIKOVSKY MAHLER

SOUSA DVORAK VERDI PUCCINI WAGNER WAGNER MUSSORGSKY DUKAS

TWENTIETH DEBUSSY DEBUSSY STRAVINSKY

STRAVINSKY STRAVINSKY

STRAVINSKY SCHONBERG

SCHONBERG SCHONBERG

WEBERN

90.

Symphonie Fantastique (All movements) Romeo and Juliet, Overture--Fantasy Nutcracker Suite: Dance of the Reedpipes Symphony No.1 in D Major:

3. Moderate and solemn, not too slow The Stars and Stripes Forever Symphony No.9 ("New World") (All)

Rigoletto: La donna e mobile & Quartet (Act La Boheme: Excerpt (Act 1) Lohengrin: Prelude (Act 3)

Gotterdammerung: Immolation Scene (Act 3 Boris Gudonov: Coronation scene (Act 1) Sorcerer's Apprentice

CENTURY PERIOD Prelude to the Afternoon of a Faun Nocturnes for Orchestra: 2. Fetes Petrushka: Opening scene

Firebird Suite: Finale

Le Sacre du Printemps: Part 1--1. Introductiol 2. Omens of Spring: Dances of the Youth

and Maidens; 3. Ritual of Abduction; Part II: 6. Sacrificial Dance;

Symphony of Psalms: Part 1 Pieces (5) for Orchestra, Op. 16:

1. Premonitions 2. Yesteryears A Survivor from Warsaw

Suite for Piano Pieces (5) for Orchestra, Op. 10:

3. Very Slowly and Extremely Calm

IVES

BARTOK

BERG IVES

COPLAND

BABBITT CARTER

VARESE

CRUMB

ZWILICH PENDERECKI BRITTEN

JAZZ SCOTT JOPLIN BESSIE SMITH

Putnam's Camp, Redding, Connecticut Concerto for Orchestra (All movements)

Wozzeck: Act 3--Scenes 4 and 5 Unanswered Question

Applachian Spring: Section 7--Theme and Variations on " Simple Gifts"

Composition for Synthesizer (Excerpt)

Sonata for Flute, Oboe, Violoncello and Harpsichord: 1. Risolute

Poeme Electronique Ancient Voices of Children:

From Where Do You Come, My Love Passages: Reversal Threnody Young Person's Guide to the Orchestra

Maple Leaf Rag

KING OLIVER LILLIAN ARMSTRONG IRVING BERLIN

Lost Your Head Blues

Dippermouth Blues Hotter Than That Blue Skies

DUKE ELLINGTON

CHARLIE PARKER

Concerto for Cootie

KoKo

DA VE BRUBECK QUARTET Unsquare Dance ZA WINUL Birdland (Excerpt)

NON WESTERN MUSIC

91.

Song from Angola (Gangele Song)

Mitamba Yalagala Kumchuzi Hinganyengisa Masingita

RA VI SHANKAR Maru Bihag (excerpt)

MITSUZAKI KENGYO Godan Ginuta

NOTES

1. Alexander Walton, Architecture and Music,W. Heffer & Sons Ltd., England. 1934. p.3.

2. Joseph Machlis, Enjoyment of Music, W.W. Norton & Co., New York, 1984, p. 18. 3. Op. cit., Machlis, p. 15.

4. Op. cit., Machlis, p. 17.

5. Op. cit., Machlis, p. 42.

6. Oscar Thompson, How to Understand Music, Dial Press. New York. 1935. p. 210. 7. Op. cit.. Thompson. p. 211.

8. Op. cit., Thompson, p. 212.

9. Op. cit., Thompson, p. 214.

10. "Mizoe-2", Hiromii Fujii. Japan Architect. Jan. '89. p.20.

11. "Jean Paul Morel", Salon Nord. Architecture D' Aujurd 'Hui. Oct. '85, p.44.

12. "Vitra Design Museum", Rolf Fehlbaum, Architecture D' Aujurd 'Hui, Dec. '86, p.62

13. Willi Apel, Harvard Dictionary of Music, Harvard Univ. Press, Mass. 1969, p. 200

14. Terry J. Gates, Music Education in the United States. Univ. of Alabama Press. 1988. p. 278.

15. Op. cit., Gates, p. 280.

16. Douglas R. Greer, Design for Music Learning, Columbia Univ. Press, 1980, p. 4.

17. Op. cit., Greer, p. 5.

18. Op. cit., Greer, p. 6.

19. Op. cit., Greer, p. 7.

20. Op. cit., Machlis, p. 28.

21. Ibid., p. 29.

22. Ibid., p. 31.

23. Ibid., p. 32.

24. Ibid., p. 33. 25. Ibid., p. 34. 26. Ibid .. p. 35.

92.

93. 27. Ibid., p. 38.

28. Op. cit., Thompson, p. 116. 29. Ibid., p. 117.

30. Ibid., p. 118.

31. Ibid., p. 119.

32. Ibid., p. 120.

33. Op. cit., Machlis, p. 42.

34. Ibid., p. 206

35. Ibid., p. 207

36. Ibid., p. 133.

37. Op. cit., Apel, p. 286.

38. Op. cit., Machlis, p. 393.

39. John H. Callender, Time Saver Standards for Architecture Design Data, Sixth Ed .. McGraw-Hill, Inc., New York, 1982, p. 4.7

40. Ibid .. p. 4.9

41. Ibid., p. 4.11

42. Ibid., p. 4.13

43. Harold P. Geerdes, Planning and Equipping Educational i\1usic Facilities, Music Educators

Natl' Conference, 1975, p. 42.

44. Ibid., p. 43.

45. Ibid., p. 45.

46. Ibid., p. 46. 47. Ibid., p. 47.

48. Ibid., p. 48.

49. Ibid., p. 49.

50. Ibid., p. 51.

51. Ibid., p. 52.

52. Ibid .. p. 53.

94. 53. Ibid., p. 54. 54. Ibid., p. 55.

BIBLIOGRAPHY PAGE

Apel, Willi: Harvard Music Dictionary, Harvard University Press, Cambridge, Mass, 1969.

Beranek, Leo L.: Music. Acoustics and Architecture, John Wiley & Sons, Inc., New York, 1962.

Callender, John H.: Time Saver Standards for Architecture Design Data. Sixth Edition, McGraw­HilI, Inc., New York, 1982.

Donnington, Robert: Music and Its Instruments, Methuen & Co., New York. 1982

Gates, Terry J.: Music Education in the United States, University of Alabama Press. 1988.

Geerdes, Harold P.: Planning and Equipping Educational Music Facilities, Music Educators National Conference, 1975.

Greer, R. Douglas: Design for Music Learning, Columbia Univ. Press, 1980.

Keene, James A.: A History of Music Education, Univ. Press of New England, 1982.

Machlis, Joseph: Enjoyment of Music, W.W. Norton & Co., New York,1984.

Stravinsky, Igor: Poetics of Music, Harvard University Press, Cambridge, Mass, 1970.

Thompson, Oscar: How to Understand Music, Dial Press, New York, 1935.

Walton, Alexander: Architecture and Music, W. Heffer & Sons Ltd .. Cambridge, England. 1934.

"Jean Paul Morel", Salon Nord. Architecture D' Aujurd 'Hui, Oct. '85, p. 44.

"Project Mizoe-2", Hiromi Fujii, Japan Architect, Jan. '89, pp. 20-21.

"Vitra Design Museum", Rolf Fehlbaum, Architecture D' Aujurd 'Hui, Dec. '86, pp.62-64.

95.

Personal interviews with music professors of the Texas Tech University Music School: Bob Henry asst. dean., Oct. '90 Robert Dill asst. prof., Oct. '90 Verna Allison asst. prof., Oct. '90

96.

In attempting to create a representational imagery of music and

communicate some basic principles of music

composition architecturally, I focused on

capturing the aural experience of music;

creating an architectural experience of the

way music is heard. Architects of the Rennaisance and Modern movement, as they

strove for universal ordering principles,

defined parrallels between architecture and music strictly through proportional

numbering systems and the result was always

a rigid architecture of Eucledian geometry. The experience of music is not the breaking

down of a musical piece into mathematical

proportions while listening, but rather

listening to parts combined, entering and

fading, flowing and chasing, distinct,

identifiable parts with various transitions

and accentuations. The Dallas Conservatory of

Music is an architecture reflecting this kind

of musical experience visually. The

architectural experience here directly involves the user, stimulating his senses with contrasting textures and materials, colors and transitions of volumes opening

above and below with collisions of forms

throughout. As the building cuts into and steps up

the sloping site, students park and enter at

the west entry, that being the lowest point of

the slope. While the majority of faculty, visitors and Recital audiences enter at the

top of the hill. Spaces and their related activities are located throughout the school according to a build up toward performance, or a build up in complexity as related to the learning process.

Level one, the west entry, contains spaces for activities considered fundamental in the learning of music such as academic

classrooms, some faculty studios and the music library. The library acts as a kind of transitional space where all three levels

come together. This area is intended to be a

social gathering space as students wait for

faculty studios, practice rooms and other

spaces to become available. Level two contains music rehersal

spaces such as the percussion studio, instrumental rehersal hall, choral rehersal

hall, electronic music studio, the majority of

faculty studios and access to the recital hall at stage level. The next level, level three, locates the recital hall and administrative spaces.

In creating the architectural experience of music, I set up a succession of diverse and contrasting stimulli that communicate a kind

of whimsical interplay of diverse components

that bombard the user. Forms and materials collide, views are hidden and revealed,

volumes soar above and below entising, exciting and overwhelming the user as he

moves through the building.

The ordering of many diverse components and materials is difficult. As a

result the design is complex and conceptually

it is multi-dimensional as it relates to the

music experience and aspects of music

composition. I ordered the diverse

components according to the activity in

which they contained in a hierarchial fasion

as relate to the activities level of complexity in the learning process or its functional role arch itectu rally.

The first order in the hierarchy are the circulation nodes which contain elevators,

stairwells, restrooms and mechanical shafts.

Below grade these components become

mechanical rooms accessed through the music library. These being the basic functional components of the building, falling within the

linear organization the same distance apart

with the least freedom and being the most rigid form, I thought of them musically as the rhythm or beat of the composition. The

material of these forms is a poured concrete with a rough texture.

The second order comprises the horizontal rectangles made up of precast, glazed concrete panels. These forms are tilted and skewed throughout the building, being allowed a bit more freedom than

circulation nodes. They contain academic classrooms, piano classrooms, administrative

areas and storage.

The next level in the hierarchy are the

faculty studios constructed of white.

precast, glazed concrete tiles. Within these

spaces walls are tilted and skewed so as to

enhance the acoustical qualities of the small

spaces.

The fourth level in the order of components are the rehersal halls and recital hall. Containing curvilinear wood walls at

their entries and constructed of cut granite

tiles, their form is of a basic rectangular

shape best suited for the rehersal, sound generating activities within.

The fifth level in the hierarchial order

of components are the practice rooms

reflecting the most freedom of all the components, as the activities within are that

of creative thinking and self expression. The

practice rooms constructed of aluminum and

are located on the violet wedge forms

constructed of an enameled aluminum. Each

of these rooms faces toward the courtyards or the Dallas skyline, providing a different

view in each. The large curvilinear steel wall cutting

through the linear organization of the

building functions as an ordering device, defining walls in spaces throughout the

school.