FAC I L I TY T Y PE : CO N SE R VATOR Y 2 73

F E AT U R E D S PAC E T YPE : EN SE M BL E AND REHEARSAL STUDI OS

diffusion, balanced with scattered but relatively

T yp i c a l I n t e r i o r
minimal sound absorptive treatment. Treatments
combine absorptive and diffusive panels having the
same fabric finishes. Windows and doors provide

r
some modest diffusion, and their locations were
considered in positioning the wall treatments. Two
adjacent walls in each room are slightly angled,
minimizing flutter echoes and resultant coloration.
The results are rich acoustics with extreme clarity.
All rooms have moderately longer low-frequency
reverberation compared to the middle frequencies
for added warmth, but also have slightly longer
high-frequency reverberation for some sparkle
and liveliness. The measured reverberation times
are fairly consistent, except that the Gondos String
Quartet Studio was designed to have slightly longer
reverberation times.
All rooms feature an array of absorber/reflectors in
the ceiling. The ceilings of the two larger studios add
4ft x 4ft doubly-curved diffuser/reflectors that are
hidden behind a scrim of sound transparent fabric to
maintain a visually level ceiling, but without adverse
effects.
The Percussion Studio needed a large storage closet for
the variety of permanently housed instrumentation,
which presented an opportunity. The wood folding
doors to this closet cover much of one end wall, and
are designed to be highly transmissive, thus allowing
some sound energy to be conveniently discarded
into this added volume, thereby helping to tame the
overall sound levels.
With the consistent sound quality of each teaching
studio and the purposely-adjusted responses of the
S o u n d -T r a n s m i s s i v e P e r c u s s i o n C lo s e t D o o r

two larger rooms, Hind Hall is in constant high

demand by both educators and students.
M U S I C AC A D E M Y O F T H E W E ST

Plan View
1
5 "
1.

1.

1.

1.
1.
1.

2.

3.
2 74
1 . S t u d i o 2. P e r c u s s i o n S t u d i o w i th S to r ag e C lo s e t 3 . S tr i n g Q ua rt e t and E n s e m bl e
F E AT U R E D S PAC E : T E AC H I N G ST U D I O 275

A coustical C onsultant :
M c K ay C onant H oover I nc .

A rchitect :
PMSM A rchitects
( now 19 six A rchitects )

C ompletion D ate :
2017

L ocation :
S anta B arbara , CA | USA

C onstruction T ype :
N ew C onstruction

C onstruction /R enovation C ost :

$4,400,000

F e at u r e d S pac e D ata :

R oom V olume :
3,180 ft 3 to 8,450 ft 3

F loor P lan A rea :

265 ft 2 to 660 ft 2

S eating C apacity :
A s N eeded

5 50
String Quartet NC-20
Sound Pressure Level (dB)

Percussion
4 Studio 1 40
Reverberation Time (s)

Studio 4
Studio 5
3 30

2 20
Reve

1 10

0 0
125 250 500 1000 2000 4000 125 250 500 1000 2000 4000
Octave Band Center Frequency (Hz) Octave Band Center Frequency (Hz)
2 76
M U S I K I N S E L R H E I N AU

T
he Musikinsel, or Island of Music, in Rheinau performance room cover approximately 200 square
Switzerland is a former Benedictine monastery meters each and can hold a full orchestra and a big
located on the Rhine River. Its complex, a choir.
protected building, was converted into a Kahle Acoustics played an active part in the creative
music school and a rehearsal venue for orchestras, collaboration of the design team led by Bembé
academies, and chamber music master classes among Dellinger architects and also included Mr. Beat
other events. With an overall context prerequisite Zoderer (artist), Mrs. Annette Douglas (textile
of “Silence,” the main challenge was to establish designer), and Reflexion AG Switzerland (lighting
optimal acoustics without disrupting the charismatic designer). Altogether, the acoustical consultants
architecture of the location. Another design challenge embraced the dual challenge of preserving the
was to highlight the inspiring atmosphere in order to architecture and ensuring the functionality of each
offer the musicians full concentration in any of the 16 practice room irrespective of whether they would be
rehearsal rooms. The rehearsal rooms include small used separately or simultaneously.
individual practice rooms, medium-sized rooms for
15 people, two large rehearsal rooms, and the music The optimized acoustics scope included both
room for performances. The school also maintained building acoustics and room acoustics. The
an old library. The large rehearsal rooms and acoustical consultants were very fortunate to work
R e h e a r s a l R o o m - C a rp e t , C u rta i n & W a ll P a n e l s | KF B P o l s k a W a ll P a n e l s ; H i d d e n C l a d d i n g

H i sto r i c a l R e h e a r s a l R o o m
w i th
C a rp e t | KFB P o l s k a
A c o u st i c a lly A c t i v e F u r n i t u r e | K F B P o l s k a
in
R a d i ato r | KF B P o l s k a
FAC I L I TY T Y PE : R EH E A R SA L CE N T E R 27 7

F E AT U R E D S PAC E T YPE : M U SIC R OOM

with half-meter to one-meter thick monastery

Mobile Panels | KFB Polska

walls. This existing wall design already eliminates
the transmission of loud music between individual
practice rooms. However, within rooms, the
landmarked architecture did not leave much
leeway for an acoustic intervention. The acoustical
consultants developed custom fabrics along with
acoustically active furniture in order to preserve the
architecture. For instance, acoustic absorption was
applied in the rehearsal rooms with mobile panels,
carpets on parquet floors, curtains, and integrated
absorption in the radiator covers. The combination
enhances control of the reverberation time and
leaves musicians free to adapt the acoustics to their
preference.
There is a historical ceiling that provides diffusion,
and the reverberation can be tamed with fixed panels
behind a piano and a floor carpet on the wooden
floor. The vaulted ceiling is acoustically interesting
M u s i k i n s e l R h e i n au

as it produces mainly positive focusing effects due to

its concave curvature. The mobile panels are made of
sound-absorbing cushions on one side yet are sound-
reflecting on the other side, providing flexibility
o n th e

that can support orchestras amongst various other

ensembles.
R i v e r R h i n e | KFB P o l s k a

Our largest acoustic intervention was in the

Musiksaal, or main music room, as it did not contain
any historic fabric. The acoustical consultants
constructed the highest possible ceiling height and
created a coffered ceiling slightly tilted to prevent
flutter echoes and to offer good sound distribution
through reflected sound. In addition, the acoustical
consultants covered one full wall with acoustic panels
M u s i k s a a l (M u s i c H a ll ) | KF B P o l s k a

that alternated between absorbing and reflective

to offer partial reflection back to the orchestra.
Lightweight and semi-transparent micro-porous
curtains provided wall absorption and were used to
create a dryer acoustic environment, especially in the
case of large orchestra rehearsals. The reverberation
time data were measured in the unoccupied space,
and the noise ratings were calculated for the
unoccupied space.
The Musikinsel Rheinau reopened in 2014 and has
been a very dynamic and inspiring spot for practicing
musicians and music education.
M U S I K I N S E L R H E I N AU

F lo o r P l a n of M u s i k i n s e l R h e i n au (I s l a n d of Music)
Korridor

F.10C01.3
2 78
F E AT U R E D S PAC E : M U S I K S A A L 279

A coustical C onsultant :
K ahle A coustics

A rchitect :
B embé D ellinger A rchitekten BDA und
S tadtplaner

C ompletion D ate :
2014

L ocation :
R heinau | S witzerland

C onstruction T ype :
A daptive R euse

C onstruction /R enovation C ost :

$28,240,800

F e at u r e d S pac e D ata :

R oom V olume :
69,217 ft 3

F loor P lan A rea :

2,637 ft 2

S eating C apacity :
120
5

NR-15
4 L eq = 22 dBA
Reverberation Time (s)

0
125 250 500 1000 2000 4000
Octave Band Center Frequency (Hz)
280
S A N F R A N C I S C O C O N S E R VATO R Y O F M U S I C

F
ifty Oak Street the home for the San Francisco in the upper volume. The Osher Salon is perhaps
Conservatory, is inserted into the shell of a the best-loved space in the building – an elegant
historically significant Catholic Boys Club in flat-floor rehearsal room that can seat up to 120
the Civic Center performing arts district. A and welcomes less-formal recitals. The upper floors
substantial eight-story addition, with two of those within the original building are organized around an
stories underground, supplements the original atrium that is sprinkled with social space and study
building. The comprehensive programming includes space for the students – an important amenity in an
teaching studios, practice rooms, classrooms, offices, urban school. Nooks and niches at every level of the
and three major spaces that accommodate both atrium are popular with the Conservatory’s many
rehearsals and performances. guitar students.
The 160-seat Sol Joseph Recital Hall offers an The ornate ballroom of the Boys Club was repurposed
intimate, clear, supportive setting for traditional as the audience chamber of the 450-seat concert hall.
recitals. The hall has a narrow balcony that wraps The original historic interior was maintained, and
around three sides with one row of seating. There are acoustical treatments were carefully integrated into
adjustable acoustic banners to control reflections and the historic fabric. A new stage house, equipped with
reverberation time with exposed technical catwalks an orchestra pit lift and adjustable acoustic banners,
FAC I L I TY T Y PE : CO N SE R VATOR Y, H IG HER EDUC ATI ON 281

F E AT U R E D S PAC E T YPE : CO N CER T H A LL

was built in the addition. The space had to be heavily

C o n c e rt H a ll - I n t e r i o r
isolated from the dense surrounding programming
by utilizing multiple floating assemblies, massive
construction, and isolation joints throughout the
building.
The original coffered ceilings with ornate molding

fr o m
along with pilasters and cornices break up the walls

Audience
and ceiling into complex shapes. These features
provide useful medial and lateral reflections to the
audience chamber while controlling flutter and
echoes. A grid above the stage integrates concealed
lighting while providing well-timed reflections for
onstage communication for students and performers.
A large convex-shaped lid for the stage house sits
above the lighting grid and is partnered with the
gentle shaping at the stage walls. Together they
provide projective geometry to improve on-stage
communication for musicians. There is additional
volume above the visual ceilings of the stage and
C o n c e rt H a ll - A u d i e n c e C h a m b e r S i d e wa ll

audience chamber for loudness control.

The multiple banners in the audience chamber and
onstage can be exposed or pocketed to provide a wide
range of reverberation time. This range in decay time,
provided by the variable acoustics, supports the many
uses of this space for classes, recitals, and lightly staged
opera productions as well. The thoughtful blend of
old and new has made the concert hall successful as
the primary rehearsal and performance space for the
ll
conservatory’s large ensembles as well as a popular
rental space for events and touring performances.
The reverberation time data were measured in the
unoccupied concert hall. The background noise level
data were measured in the unoccupied concert hall
C o n c e rt H a ll - S t u d e n t R e h e a r s a l

with the HVAC system on, and the corresponding

noise ratings were calculated for the unoccupied
space. In addition to the architect and acoustical
consultant, the design team included Auerbach
Pollack Friedlander (theatre consultants, audio
systems designer).
Opposite page: Concert Hall - Interior From Stage
l
282
S A N F R A N C I S C O C O N S E R VATO R Y O F M U S I C

M a i n F lo o r P l a n
F E AT U R E D S PAC E : C A R O L I N E H . H U M E C O N C E R T H A L L 283

5 0 O a k S tr e e t B u i l d i n g - C r o s s S e c t i o n
A coustical C onsultant :
K irkegaard

A rchitect :
P erkins + W ill

C ompletion D ate :
2006

L ocation :
S an F rancisco , CA | USA

C onstruction T ype :
N ew C onstruction , A daptive R euse

C onstruction /R enovation C ost :

$43,000,000

F e at u r e d S pac e D ata :
SSFFCM

R oom V olume :
CM B u i l d i n g - L o n g i t u d i n a l S e c t i o n

218,250 ft 3

F loor P lan A rea :

5,160 ft 2

S eating C apacity :
450

5 50

RC-14
Sound Pressure Level (dB)

4 40
Reverberation Time (s)

3 30

2 20

1 10

0 0
125 250 500 1000 2000 4000
Octave Band Center Frequency (Hz)
284
U N I V E R S I T Y O F C I N C I N N AT I
C O L L E G E C O N S E R VA T O R Y O F M U S I C

F
rom 1992 to 1999, Kirkegaard contributed to a music facilities for CCM was to renovate the existing
comprehensive reworking of the facilities for the Corbett Auditorium. The venue serving as CCM’s
University of Cincinnati’s College-Conservatory primary performance venue was a drab, scale-less
of Music (CCM). In addition to the architects 750-seat proscenium theater clad in Formica and
and acoustical consultant, the design team included suffering from a clattery, overly bright sound with
Theatre Projects Consultants (theatre consultant). excessive background noise.
The first step was the conversion of a 100-year-old The final step was the replacement of Mary Emery
gymnasium into the Dieterle Vocal Arts Center that Hall with a new three-story building over a parking
consisted of a choral rehearsal room, choral teaching garage. In addition to a variety of classrooms, rehearsal
studios, and a large opera rehearsal room. The second rooms, offices, and teaching studios, the building
step was the conversion of a 1920s dormitory into houses the beautiful 250-seat Werner Recital Hall, a
teaching studios and practice rooms. The adjacent 100-seat master classroom, and the elegant, flexible,
1960s music and theater building was then lightly 120-seat Cohen Family Studio Theater, which is used
renovated and enhanced with the addition of dance for drama, musical theater, and opera.
studios and a new scene shop.
Corbett Auditorium was gutted and its interior
The next step in creating a comprehensive suite of completely rebuilt. The 3/4-inch thick Formica panels
FAC I L I TY T Y PE : CO N SE R VATOR Y, H IG HER EDUC ATI ON 285

F E AT U R E D S PAC E T YPE : M U LT I-U SE T H EATRE

that covered the walls were removed to expose the

C o rb e tt A u d i to r i u m P o st - R e n ovat i o n
rough sprayed-on concrete, which was then sealed
with paint. At the rear wall the folded plate diffusion
was replaced with Schroeder diffusers and bowed
surfaces. The resulting highly diffusive rear wall is
excellent for clarity in the audience area but is too
heavy-handed for room response for performers.
The wall surfaces of painted rough concrete and the
diffusive shaping were all concealed behind a 3-foot
by 3-foot grid of vertical wood dowels. Within each
square of the grid, the spacing of the dowels gradually
increases and then decreases to avoid a “picket fence”
effect. New box seating gave a sense of human scale
to the room and broke up the sheer side walls.
To serve instrumental music, the existing short, thin
shell with a horizontal ceiling was replaced with
a heavy wood shell as tall as the proscenium, with
a projectively angled ceiling. The shell’s walls are
C o h e n F a m i ly T h e at e r | K i rk e g a a r d

stabilized by triangular jack braces. The wall panels

are tied back to the stagehouse wall for storage with
the jack braces folded flat to minimize any loss of
footprint in the stagehouse.
The hall was remade without significant change to
its seat count. Its acoustics were greatly improved –
mellower and clearer, with more presence and more
reverberation, especially for orchestral performances.
The reverberation time data were measured in the
unoccupied auditorium with the orchestra shell in
place and the few adjustable acoustic curtains in the
attic volume retracted.
Opposite page: Corbett Auditorium - Interior |
Kirkegaard
W e r n e r R e c i ta l H a ll
ll
U N I V E R S I T Y O F C I N C I N N AT I

U n i v e r s i ty of C i n c i n n at i C o ll e g e C o n s e r vato ry of M u s i c - F lo o r P l a n C o rb e tt A u d i to r i u m - F lo o r P l a n
2.

3.

4.
1.
286
1 . A u d i o P r o d u c t i o n 2. S tag e 3 . A u d i o C o n tr o l R o o m 4. TV P r o d u c t i o n S t u d i o
F E AT U R E D S PAC E : C O R B E T T A U D I TO R I U M 2 87

C o rb e tt A u d i to r i u m - L o n g i t u d i n a l S e c t i o n
A coustical C onsultant :
K irkegaard

A rchitect :
P ei C obb F reed & P artners
NBBJ-R oth

C ompletion D ate :
2000

L ocation :
C incinnati , OH | USA

C onstruction T ype :
N ew C onstruction , R enovation

C onstruction /R enovation C ost :

$93,200,000

F e at u r e d S pac e D ata :
C o rb e tt A u d i to r i u m - T r a n s v e r s e S e c t i o n

R oom V olume :
317,300 ft 3

F loor P lan A rea :

5,760 ft 2

S eating C apacity :
750
5

RC-15 - RC-20
4
Reverberation Time (s)

0
125 250 500 1000 2000 4000
Octave Band Center Frequency (Hz)
288
UNIVERSITY OF MELBOURNE
T H E I A N P OT T E R S O U T H B A N K C E N T R E

L
ocated in the arts precinct in the heart of lecturer with a small audience or for a full theatre.
Melbourne, the Ian Potter Southbank Centre • Prudence Myer Studio is a flexible flat-floor
opened in early 2019. It is a purpose-built performance and rehearsal venue, accommodating
music conservatorium and the centerpiece of up to 135 people. This space is for performance
the University of Melbourne’s Southbank campus. classes and workshops, academic teaching, exams,
Carrying a small footprint, it is organized vertically recitals, and small concerts.
as a compact eight-level tower and aims to balance
the individual concentration required of students These spaces achieve a high level of acoustic isolation
with the camaraderie of engaging with others. from the external environment, including trams along
Sturt Street, by utilizing box-in-box construction.
The Ian Potter Southbank Centre encourages Vibration-isolated structures were built within a
curiosity and interaction between the musicians structurally massive concrete box and provide high-
and their community. The circulation spaces quality recording environments for the three large
incorporate study hubs with informal seating areas performance spaces. These main rooms have operable
to encourage interaction and flexible use of the space. acoustic banners to change the reverberation time in
Large windows with acoustic glazing create visual the spaces to suit a wide range of functions and uses.
connections between main spaces while maintaining
acoustic isolation. The venue aims to encourage an Kenneth Myer Auditorium demonstrates the design
acoustical environment that is alive with energy philosophy that emphasizes the flexibility of the
and that allows the sounds of learning and practice building. The retractable seating allows for a recital
to permeate throughout the common spaces. The audience of up to 200. A fixed control position
interior spaces are always close to natural light and linked to sound, projection, and lighting systems
views. Its stairs are natural settings for conversation. allows for multimedia performances and recording
The internal ambiance is designed so that the activity capability. Operable banners allow the acoustical
of the building is audible, but not intrusive, to transformation of the space for guest lectures and
contribute to a supportive environment. amplified electronic performances. A viewing gallery
at upper level allows observation of rehearsals and
Each room has specialized fit-for-purpose or flexible events by an additional 30 people or a site for off-
features designed to control key acoustic measures. stage performers. External light is provided through
Ceiling heights have been specified to create room niche skylights embedded in the façade, and visual
volumes which reduce sound level exposure while interaction is achieved through external portals and
retaining a suitably lively acoustic impression. The internal feature windows to the circulation spaces.
design allows for flexibility in the life of the building
with modular acoustic treatments that allow for easy With the seats retracted, the floor area extends to
changes as the functions of the rooms are evolving. accommodate an orchestra of 120 and a chorus.
The building includes three vertically stacked venues: Flexibility in the acoustical design extends to the
double curvature of the ceiling panels which allows
• Kenneth Myer Auditorium is a flat-floor venue for multiple overhead reflections between all areas of
rehearsals and workshops with large orchestras the floor area. Low-level wall diffusion allows the
and choirs. A 200-seat retractable seating bank can musicians to be immersed in an enveloping sound
accomodate audiences for performances, public while avoiding strident reflections that could distort
recitals, and guest lectures. the sound of the ensemble. This room uses operable
• Hanson Dyer Hall is a formal recital hall that holds absorption, and the reverberation time can be varied
up to 40 musicians on stage, a choral balcony from 1.1 to 1.3 seconds depending on the use. The
that holds up to 60 musicians, and raked seating background noise levels meet the NR-20 design
for an audience of up to 400. The seating layout is target for the unoccupied space.
designed to feel intimate for a single performer or The building incorporates twelve tutorial rooms
FAC I L I TY T Y PE : CO N SE R VATOR Y, H IG HER EDUC ATI ON 289

F E AT U R E D S PAC E T YPE : R ECITAL H AL L

designed for rehearsals of 12-20 musicians and a

K e n n e th M y e r A u d i to r i u m | T r e vo r M e i n
percussion space. Room heights up to 4.5 meters
reduce the sound intensity for occupants. Smaller
studios provide staff accommodation, as well as
practice and rehearsal spaces for up to three musicians.
Three electronic music studios are linked to the
central recording studio to provide a comprehensive
capability for demonstration and commercial-level
productions.
Hanson Dyer Hall cantilevers dramatically over the
park below to frame an external space, which is the
fourth performance space. Here is a place outside
the walls of the conservatorium for both impromptu
and organized performance. It draws music into the
public realm, creating a social space owned by the
students. The reverberation time data presented were
calculated for the unoccupied space.
Traditionally music education requires long periods
H a n s o n D y e r H a ll - L e c t u r e & P e rf o r m a n c e S pac e | T r e vo r M e i n L e v e l 8 T u to r i a l R o o m | T r e vo r M e i n

of intense private practice to learn the complex

skills and knowledge needed to be a musician. It
can be quite a solitary pursuit. The acoustic isolation
required between rehearsal spaces can reinforce the
isolation of a musician from the world around them.
However, the experience of learning is enhanced by
encouraging students to interact with their peers, to
discuss and debate ideas, and to learn from each other.
This building celebrates the activities of rehearsal
and practice - it is the ‘green room’ of Melbourne’s
arts precinct. Performances will take place within
the building, yet it is not a concert hall. The working
interior is designed specifically to support the daily
life of the conservatorium - robust, informal, and
playful.
In addition to the architect and acoustical consultant,
the design team included: Brian Hall & Marshall Day
Entertech (theatre consultant), CHW Consulting
(audio systems designer, video systems designer),
Electrolight (lighting designer), Aurecon (mechanical
engineer), Lendlease (general contractor), Aspect
Studios (landscape architect), and IrwinConsult
(structural & civil engineer).
UNIVERSITY OF MELBOURNE

L e v e l 5 F lo o r P l a n
290
F E AT U R E D S PAC E : H A N S O N D Y E R H A L L 291

L e v e l 3 F lo o r P l a n
A coustical C onsultant :
M arshall D ay A coustics

A rchitect :
J ohn W ardle A rchitects

C ompletion D ate :
2019

L ocation :
S outhbank , V ictoria | A ustralia

C onstruction T ype :
N ew C onstruction

C onstruction /R enovation C ost :

$70,640,433

F e at u r e d S pac e D ata :

R oom V olume :
123,600 ft 3

F loor P lan A rea :

5,060 ft 2

S eating C apacity :
358

5 50

NR-20
Sound Pressure Level (dB)

4 40
Reverberation Time (s)

3 30

2 20

1 10

0 0
125 250 500 1000 2000 4000
Octave Band Center Frequency (Hz)
292
W H E ATO N C O L L E G E
THE ARMERDING CENTER FOR MUSIC AND THE ARTS

W
heaton College has long cultivated the renovation of the existing science building to
young musicians in a tight-knit include a recording studio, music technology lab,
community outside of Chicago, keyboarding lab, practice rooms, teaching studios,
Illinois. As the program has grown ensemble rooms, and faculty and administrative
in recent decades, however, the community has offices. An existing lecture hall has been reconfigured
burst at the seams in need of expanded space for into a new 100-seat recital hall that has become a
faculty and students alike. The construction of a new favored spot for classes and recitals alike.
science building on campus led to the availability Sound isolation was an important consideration in
of Armerding Hall to be redeveloped into a new the design of the entire project. Limited structural
home for the Conservatory on the central campus capacity, floor-to-floor dimensions, and the desire
quad. Acoustic isolation strategies were developed to to maximize room volume all provided unique
allow for practice and instruction sessions to happen opportunities for the isolation concept. Separate stud
throughout the building without distractions, with multi-drywall partitions were the primary means
technical systems supporting advanced instruction of acoustic separation in order to keep structural
and recording capabilities on every floor. loads at a minimum. Key spaces including the
The first phase of work completed in 2017 includes ensemble rooms and recording rooms were able to
FAC I L I TY T Y PE : CO N SE R VATOR Y 293

F E AT U R E D S PAC E T YPE : R ECITAL H AL L

receive masonry construction in addition to drywall support low frequency sound while textured GFRG
partition build-ups. Resilient ceiling construction panels laminated to the upper side walls played a
was strategically shaped in many spaces around key role in tempering high frequency energy while
building services and held tight to structure in order sustaining longer reverberation times.
to maximize room volume. Acoustic variability plays a key role in the space,
The acoustic goal for the 100-seat recital hall was to realized by upper side wall drapery and lower
create an intimate room with a pleasing reverberation upstage wall drapery. In the unoccupied room the
for music with the ability to successfully facilitate reverberation has a swing of nearly 1 second at mid
lectures. The limited room volume of the former frequencies. The reverberation time data shown were
lecture hall was expanded by removal of the former measured in the occupied space. The room is able to
steeply raked seating to capture more room volume. adapt to support music rehearsal and performance,
Further strategies to sustain reverberation involved spoken word, and light amplified sound favorably.
the angling of side walls in section to encourage The background noise rating shown was calculated
additional late energy development. The existing for the unoccupied space with the HVAC system on.
rooms masonry walls were taken of advantage as a A second phase of the project will include an addition
part of the room envelope composition in order to of a 650-seat concert hall and the college’s first
dedicated rehearsal hall for their formidable choral
program.
F ac u lty S t u d i o | D a rr i s L e e H a rr i s

In addition to the architect and acoustical consultant,

the design team included: Theatre Projects
Consultants (theatre consultant, lighting designer),
Threshold Acoustics LLC (audio systems designer),
IMEG Corp (mechanical engineer), and Mortenson
Company (general contractor).
Opposite page: Recital Hall | Darris Lee Harris
E x t e r i o r V i e w R e n d e r i n g | H GA A r c h i t e c t s
and
Engineers
W H E ATO N C O L L E G E

L e v e l 1 F lo o r P l a n
x5
4. 10. 4.
8.
5.
DN
7.
2. UP DN UP
9.
1.
6. 4.
DN DN
3.
5.
2 94
1 . C o n c e rt H a ll 2. L o bby 3 . C h o r a l R e h e a r s a l 4. C l a s s r o o m s 5. D r e s s i n g R o o m s 6. O ff i c e 7. R e c i ta l H a ll 8. S to r ag e 9. L o u n g e 10 . H o s p i ta l i ty
F E AT U R E D S PAC E : R E C I TA L H A L L 295

R e c i ta l H a ll - L o n g i t u d i n a l S e c t i o n
A coustical C onsultant :
T hreshold A coustics LLC

A rchitect :
HGA / FFGM
GM

C ompletion D ate :
2017

L ocation :
W heaton , IL | USA

C onstruction T ype :
A daptive R euse , F uture E xpansion

C onstruction /R enovation C ost :

$38,000,000 [$17 M illion
(P hase 1), $21 M illion (P hase 2)]

F e at u r e d S pac e D ata :
R e c i ta l H a ll - P l a n

R oom V olume :
56,000 ft 3

F loor P lan A rea :

2,100 ft 2

S eating C apacity :
100
5

NC-20 (N)
4
Reverberation Time (s)

0
125 250 500 1000 2000 4000
Octave Band Center Frequency (Hz)
296
YO N G S I E W TO H C O N S E R VATO R Y O F M U S I C
Y O N G S I E W T O H C O N S E R VA T O R Y O F M U S I C B U I L D I N G

F
ounded in 2003, the Yong Siew Toh Conservatory interactions.
of Music in Singapore has quickly established The Institution offers majors such as instrumental
a reputation as an exciting international performance, voice, composition audio arts and
conservatory and one of the world’s most science, and music and society. The facilities include
distinctive institutions for training and educating a 650-seat concert hall, an orchestral hall, recital
performers, composers, and recording engineers. studios, seminar rooms, eight ensemble rehearsal
The Yong Siew Toh Conservatory of Music building rooms, forty teaching studios, fifty practice rooms, a
opened in 2006 and was designed by RSP Architects library, and a large recording studio.
Planners and Engineers.
Kahle Acoustics (Belgium) and Theatre Projects (UK)
The conservatory pays homage to the environment’s collaborated on acoustics and theater planning, in
tropical brightness through the use of glass panels, particular on the design of the 600-seat concert hall,
and on the main façade, one can look through the while taking into account the specific context of the
full-length glass panels into the foyer of the concert site and its surroundings. As the conservatory was
hall and into the library. Despite the grandeur of built just off the Ayer Rajah Expressway, full sound
the building as it occupies 26,000 square meters, its isolation in all performance and teaching areas had
spaces provide intimate areas for conversations and to be considered. Consequently, from the smallest
C o n c e rt H a ll | Y o n g S i e w T o h C o n s e r vato ry

C o n c e rt H a ll - S tag e | K a hl e A c o u st i c s
of
Music
G l a s s - pa n e l e d F aç a d e | Y o n g S i e w T o h C o n s e r vato ry

O r c h e str a R e h e a r s a l | Y o n g S i e w T o h C o n s e r vato ry
ry
ry
FAC I L I TY T Y PE : CO N SE R VATOR Y 297

F E AT U R E D S PAC E T YPE : CO N CER T H A LL

rehearsal rooms to the main concert hall, each

A c o u st i c R e fl e c to r P a n e l s | K a hl e A c o u st i c s
acoustically sensitive space was built as a box within
a box. In some cases, the wedge-shaped design was
applied in order to prevent flutter echoes.
The 600-seat concert hall was built for classical
music performances, chamber music, and symphony
orchestra concerts. Its rectangular shoebox shape was
based on the designs of other highly-regarded concert
halls including the Amsterdam Concertgebouw, the
Musikverein in Vienna, and the Boston Symphony
Hall. Its seating area has a narrow width that creates
a feeling of intimacy. Sound reflectors above the stage
with adjustable heights contribute to the variable
acoustics; a higher setting of the canopy is utilized
when there is a need for a larger acoustic volume.
The surface finishes have both architectural value and
acoustic properties. The balcony fronts are finished
in maple wood, and their curved surfaces of various
depths help distribute the sound throughout the hall.
A d j u sta bl e C i r c u l a r A c o u st i c C a n o p i e s | K a hl e A c o u st i c s

Grooved surfaces of varying depths diffuse sound

waves to every corner of the room. The wavy finishes
of the wall panels placed in front of the acoustic
curtains serve as storage pockets but also create a
similar diffusion effect. The reverberation time data
were measured in the unoccupied space, and the
noise ratings were calculated for the unoccupied
space.
The Yong Siew Toh Conservatory of Music of
Singapore hosts 200 concerts annually, featuring
students and faculty staff alongside international
artists and ensembles as a commitment to local,
regional, and global outreach. The Conservatory
strongly contributes to a distinct and powerful
C u r v e d B a lc o n i e s

contemporary Asian voice that is both collaborative

and productive in an ever-flamboyant artistic
landscape. Overall the acoustics support what the
conservatory stands for, a place that “nurtures artistic
w i th

identity as a driver and compass for excellence.”

M a pl e wo o d F i n i s h | K a hl e A c o u st i c s
298
YO N G S I E W TO H C O N S E R VATO R Y O F M U S I C

Level 1 Plan
F E AT U R E D S PAC E : C O N C E R T H A L L 299

A coustical C onsultant :
K ahle A coustics

A rchitect :
L iu T hai K er , RSP A rchitects

C ompletion D ate :
2006

L ocation :
S ingapore

C onstruction T ype :
N ew C onstruction

C onstruction /R enovation C ost :

$21,718,650

F e at u r e d S pac e D ata :

R oom V olume :
317,832 ft 3

F loor P lan A rea :

6,889 ft 2

S eating C apacity :
650

NR-15
4
Reverberation Time (s)

0
125 250 500 1000 2000 4000
Octave Band Center Frequency (Hz)
 ThisPageLeftIntentionally-
Blank

L. M. Ronsse et al. (eds.), Rooms for the Learned Musician

A pp e n d i x A
A
G LO S S A R Y
302
APPENDIX A:

absorbing materials: materials that dissipate air-handling unit (AHU): an assembly of air-
acoustic energy within their structure as heat and/ conditioning components (cooling coils, filters,
or mechanical vibration energy. Usually, building fan, humidifiers, dampers, etc.) installed in a room
materials designed specifically for the purpose of or assembled into a self-contained unit. An AHU
absorbing acoustic energy on the boundary surfaces delivers air to an air distribution (duct) system [2].
of rooms or in the cavities of structures [1].
ambient noise: See background noise.
absorption: the process of dissipation of sound energy,
or the sound energy absorbed by a component or an
entire room [2]. amplification: usually, the increase in intensity level of
an audible signal produced by means of loudspeakers
and associated electrical amplification apparatus [1].
absorption coefficient (α): a measure of the sound
absorbing property of a surface. More specifically,
absorption coefficient is defined as the fraction of the arena theatre: theatres that have an audience around
incident sound energy absorbed (or otherwise not four sides of the stage. Also known as amphitheatres,
reflected) by a surface [2]. island stage theatres, center stage theatres, or theatre-
in-the-round [4].

acoustical transparency: a measure of the amount

of sound that passes through an opening or more articulation index (AI): a calculated coefficient used
commonly through a screen or sound-absorbing for rating the intelligibility of speech [3]. A value of
panel. The amount of sound that passes through is zero implies zero speech intelligibility, and a value of
dependent on the size and distribution of the voids in 1, a perfect intelligibility [2].
the screen as a result of how sound bends as it travels
through openings [2]. See also diffraction. articulation loss of consonants (ALCons): a calculated
value used for rating the intelligibility of speech that is
acoustical treatment: the use of acoustical absorbing, typically expressed as a percentage (%ALCons). Lower
reflecting, diffusing, or transmissing materials or percentages imply less articulation information lost,
sound-isolating structures to improve or modify the or better speech intelligibility. Higher percentages
acoustical environment [1]. imply more articulation information lost, or worse
speech intelligibility [5].

acoustics: the science of sound, including its

production, transmission, and reception [3]. attenuation: reducing the magnitude of a sound
signal by separation of a sound source from a receiver,
acoustical absorption, enclosure, active cancellation
acoustic (sound) environment: the overall by electronic means or a combination of these or
environment, interior to exterior, which affects the other means [1].
acoustic conditions of the space or structure under
consideration [1].
audible: capable of producing the sensation of hearing
[1].
airborne sound: sound transmitted through air as
a medium rather than through solids, such as the
structure of a building [1]. auditorium: large event space reserved for special
programs and gatherings.
G LO S S A R Y 303

A-weighting: the standard frequency weighting black box theatre: See multi-form theatre.
that de-emphasizes low frequency sound similar to
average human hearing response and approximates
loudness and annoyance of noise. A-weighted sound brilliant: a bright, clear, ringing sound, rich in
levels are frequently reported as dBA [3]. harmonics. A brilliant sound has prominent treble
frequencies that decay slowly [6].

background noise: the generally lowest or residual

sound level present in a space above which speech, broadband noise: a sound whose sound pressure level
music, or other sounds may be heard [1]. Typically plot has no dominant peaks, varying smoothly with
measured while the space is unoccupied and may frequency [2].
include airborne, structure-borne, or equipment
noise [2]. Common sources are a building’s caliper: ramps leading from the audience to the stage.
mechanical, electrical, plumbing, fire protection, or
native building system, outside noise such as traffic,
etc. Also called ambient noise. chamber music: music written for small rooms or
salons that is performed by a small group of musicians
[5].
backstage: those elements of a theatre that serve
primarily the aesthetics of theatre performance.
Backstage facilities can include the stage support clarity (C50): the clarity factor. It is the ratio,
spaces such as wing space, trap rooms, fly spaces, expressed in decibels, of the energy of the first 50
and rear stages, all of which also allow for multiple milliseconds of an impulse sound arriving at the
entrances and exits for the actors. Backstage spaces listener’s position divided by the energy in the sound
can also include dressing rooms, green rooms, after 50 milliseconds. The divisor is approximately
rehearsal rooms, production spaces such as shops the total energy of the reverberant sound [6].
for costumes and scenery, laundry facilities, loading
docks, security stations, storage areas, and control
coffered ceiling: a ceiling design in which upward
rooms for stage lighting, sound, and special effects
indentations are framed by beams arranged in a grid
[4].
pattern [7].

balanced noise criteria (NCB): a numerical rating

comb filtering: an effect resulting from an alternating
system, or family of curves used to specify background
sequence of constructive and destructive interference
sound levels over a given frequency range. NCB is a
of sound waves across frequency. In other words, the
revision of the NC method, with alterations including
sound waves either add together to form a higher
extension into the low frequencies, calculation of
sound level or cancel each other out depending on
the speech interference level (SIL), and ratings of
the frequency. The resultant signal displays a series
spectral quality [5]. See also Noise Criteria and
of dips, shaped much like the teeth of a comb. This
speech interference level.
effect is more commonly found in small studios [5].

balcony seating: seating areas raised above the main

concert hall: theatre built solely for music [8].
floor to offer better sight lines between the audience
and the performance area. Also referred to as gallery
seating. cornice: the decorated projection at the top of a wall
provided to protect the wall face or to ornament
304
APPENDIX A:

and finish the eaves. The term is used as well for dynamic range: the range in decibels between the
any projecting element that crowns an architectural maximum and minimum signal levels from a device
feature, such as a doorway [9]. or sound source [1].

curtain wall: a thin, usually aluminum-framed wall, early decay time (EDT): measured with same
containing in-fills of glass, metal panels, or thin stone. technique as reverberation time with the following
The framing is attached to the building structure and modification - it is the time it takes for a signal to
does not carry the floor or roof loads of the building decay from 0 to -10 dB relative to its steady state
[10]. value. A multiplying factor of 6 is necessary to make
EDT time comparable to reverberation time [6]. See
also reverberation time.
dBA: A-weighted sound pressure level. See also
A-weighting.
echo: a sound that has been reflected with sufficient
time delay, and is of a sufficiently high level to be
dead room: a room that is characterized by a large heard as distinct from the original sound [2].
amount of sound-absorbing material and with little
reverberation [3]. Also known as a “dry” room. See
also live room. ensemble: a group of musicians.

decibel (dB): the measurement unit used in acoustics equivalent (average) sound pressure level (Leq):
for expressing the logarithmic ratio of two sound the average sound pressure level occurring in a
pressures, intensities, or powers. Typically used to specified period (e.g., 1 hour) [3]. More specifically, it
describe the magnitude of a sound with respect to represents the sound pressure level which, if constant
a reference level equal to the threshold of human over a given period, will contain the same sound
hearing [3]. energy as the actual sound that is fluctuating with
time over that period [2].
diffraction: a change in the direction of propagation
of sound as a result of bending caused by a barrier in façade: the front of a building. Can also refer to
the path of the sound wave [2]. any face of a building given special architectural
treatment [11].
diffusion: dispersion of sound within an enclosure
such that there is uniform energy density throughout fenestration: Originally, an architectural term for the
the space [1]. With diffusion in the room, the listener arrangement of windows, doors and other glazed
receives sound from various directions [2]. areas in a wall. Has evolved to become a standard
industry term for windows, doors, skylights and
other glazed building openings [12].
direct sound: the sound that arrives at a receiver
along a direct line from the source without reflection
or other interaction from any surface [2]. floating floor: an additional layer of floor (concrete
or wood) supported on a structural floor (concrete or
wood) through resilient mounts. To be effective, the
distribution: the pattern of sound intensity level floating floor must be isolated at all sides from walls
within a space; also, the patterns of sound dispersion or other building components, so that the impact or
the sound travels within a space [1].
G LO S S A R Y 305

vibration from the floor does not flank to other parts impact insulation class (IIC): a single-number rating
of the building through the wall [2]. derived from measured values of impact sound
pressure levels, which provides an estimate of the
impact sound insulating performance of a floor-
flutter echo: a rapid, but repetitive succession of ceiling assembly [2].
sounds from a sound source, usually occurring as a
result of multiple reflections in a space with reflective,
smooth, and parallel walls [2]. initial-time-delay gap (ITDG): the interval in
milliseconds between the arrival of the direct sound
and the first reflection at the listener. The smaller
focus: a concentration of reflected acoustic energy this interval, the more intimate the hall, or the more
within a limited location in a room, most often caused involved the listener feels with the performance [2].
by room geometry, such as concave surfaces [1].

intimacy: the subjective impression of the size of the

forestage: the portion of stage that exists in front of hall. A small hall helps establish a sense of closeness to
the proscenium or curtain line [1]. Also known as the source, giving a feeling of intimacy. The opposite
apron. feeling, usually obtained in wide halls, is one of being
“detached” or “remote” from the performance. The
frequency: the number of (full) cycles per second acoustical measure of intimacy is called the initial
measured. The unit of frequency is cycles per second time delay gap [2]. See also initial time delay gap
(cps), which is also called Hertz (Hz). A frequency of (ITDG).
500 Hz means 500 cycles per second [2].
lite: a piece of glass. In windows and doors, lite refers
frequency band: a subdivision of the frequency range to separately framed panes of glass (as well as designs
of interest for measurement or analysis purposes simulating the look of separately framed pieces of
(e.g., octave band, one-third-octave band, etc.) [1]. glass) [12].

glazing: the glass (and other materials) in a window live room: a room containing a relatively small
or door. Also, the act or process of fitting a unit with amount of sound absorption, leaving a space with a
glass [12]. longer reverberation time. A reverberation chamber
is an extremely live room [2]. See also dead room as
an antonym.
Haas effect: See precedence effect.

loudness: an auditory sensation that varies with

Hertz: Unit of measurement of frequency. See also sound pressure level and is also dependent on both
frequency. frequency and time [3].

house: audience seating area of a theatre. mullion: a component used to structurally join two
window or door units [12].
HVAC: heating, ventilation, and air-conditioning
systems which condition the spaces for occupant multi-form theatre: theatres that do not establish a
comfort. fixed relationship between the stage and the house.
306
APPENDIX A:

They can be arranged into any of the standard theatre octave (or octave band): interval between two
forms or any of the variations of those. Also known frequency limits whose frequencies are related to
as black box theatres, laboratory theatres, flexible each other in the ratio of 1:2. In other words, the
stage theatres, modular theatres, free form theatres, upper frequency limit of an octave band is twice its
or environmental theatres, they can be reconfigured lower frequency limit. An octave band is specified
for each performance [4]. by its center frequency [2]. The standard acoustical
octave bands are centered at 16, 31.5, 63, 125, 250,
500, 1000, 2000, 4000, and 8000 Hz [1].
noise: unwanted sound [2].

one-third octave band: an octave band divided into

noise (sound) control: the application of acoustical three bands. The upper frequency limit of a one-third
principles to the design of structures, equipment, octave band is 21/3 times its lower frequency limit [2].
and spaces to permit them to function properly and
to create the desired environment for the activities
intended [1]. parterre seating (level): the rear section of seats, and
sometimes also the side sections of the main floor of
a theatre, concert hall, or opera house [13].
noise criteria (NC): a numerical rating system, or
family of curves used to specify background sound
levels over a given frequency range [8]. pitch: See frequency.

noise rating (NR): a numerical rating system based plenum: an air-filled space in a structure, especially
on a set of octave band curves used primarily in one that receives air from a blower for distribution
Europe and the United Kingdom to describe noise (as in a ventilation system) [8]. They are typically
from mechanical ventilation systems in buildings [5]. made of sheet metal with fiberglass lining the walls
[2].
noise reduction: the reduction in level of unwanted
sound by any of several means (e.g., by distance in plinth: lowest part, or foot, of a pedestal, podium,
outdoor space, by boundary surface absorption, by or architrave (molding around a door). It can also
isolating barriers or enclosures, etc.) [1]. The term is refer to the bottom support of a piece of furniture
also used to describe the difference in sound pressure or the usually projecting stone coursing that forms a
levels between two rooms, in which one room is the platform for a building [9].
source room and the other, a receiving room [2].
precedence effect: the ability of the human auditory
noise reduction coefficient (NRC): a single-number system to suppress perception of echoes, primarily
rating derived from measured values of sound up to 40 milliseconds after a direct sound [3].
absorption coefficients of a material at 250, 500,
1000, and 2000 Hz. NRC is an estimate of the sound
absorptive property of an acoustical material [2]. preferred noise criteria (PNC): a numerical rating
NRC values range from 0 (hard reflective materials) system, or family of curves used to specify background
to 1.0 (highly absorptive materials). sound levels over a given frequency range. PNC is a
revision of the NC curves, with alterations in the high-
and low- frequencies [5]. See also Noise Criteria.
G LO S S A R Y 3 07

proscenium theatre: a variety of end stage theatre reverberation: the persistence of a sound within a
that intentionally puts the stage in a separate volume space after the sound source has stopped [1].
of space from that occupied by the house. In this
form, the stage is separated from the house by a
large arched opening (the proscenium, which can reverberation time (RT): the time (in seconds)
sometimes be rectangular or square) that allows required for the sound pressure level to decrease 60
the audience to see through from the house to the dB in a room after a noise source is abruptly stopped.
stage as if looking through a frame at a large moving Reverberation time relates to a room’s volume and
picture. Proscenium stages can be fitted with “aprons” sound absorption [3].
or “forestages” that carry the stage through the arch
into the house and thus make it a variation on the room acoustics: a study of the behavior of sound in
end stage form [4]. rooms [2] that focuses on the characterization and
optimization of the acoustical conditions within a
psychoacoustics: the scientific study of human built environment.
auditory perception [3].
room criteria (RC): a numerical rating system,
quadratic residue diffuser: a type of diffuser that or family of curves used to specify background
consists of an array of linear slits (or wells) of sound levels over a given frequency range. Includes
constant width and varying depth. The exact design calculation of a level rating based on the arithmetic
(e.g., number of wells, size of wells, etc.) can be tuned mean of the noise levels at 500, 1000, and 2,000 Hz
to provide sound scattering within any required and ratings of spectral quality [5].
frequency band [2].
room shape: the configuration of an enclosed space,
recital hall: theatre built for solo or small chamber resulting from the orientation and arrangement of
performances of instrumentalists or vocalists. surfaces defining the space [1].

reflected sound: the resultant sound energy returned sabin: a unit of measure of sound absorption.
from a surface(s) that is not absorbed or otherwise The unit “sabin” can be either foot sabin or metric
dissipated upon contact with the surface(s) [1]. sabin, depending on whether the surface area of the
absorber is measured in ft2 or m2
m2. One foot sabin is
the sound absorption provided by 1 square foot of a
reflection: the phenomenon by which a sound wave surface whose absorption coefficient is 1.0. Similarly,
is re-radiated (“bounced”) from a surface [3]. 1 metric sabin is the sound absorption provided
by 1 square meter of a surface whose absorption
coefficient is 1.0 [2]. Named after Wallace Clement
resilient mounting: any mounting or attachment Sabine, a pioneer in architectural acoustics [2]. See
system that reduces the transmission of vibrational also absorption and absorption coefficient (α).
energy from a vibrating body or structure to an
adjacent structure [1].
scattering: an irregular reflection and/or diffraction
of sound in many directions [2].
reverberant (or reflected) sound field: a sound field
created by repeated reflections of sound from the
boundaries of an enclosed space [2].
308
APPENDIX A:

sectional: practice session for a specific group of sound transmission loss (TL): a laboratory measure
an ensemble such as brass, woodwinds, strings, or of sound insulation indicative of the sound intensity
specific instruments. flow transmitted through a partition without regard
to the partition size, usually measured in one-third
octave bands [3].
shoebox hall: rectangular hall that is relatively
narrow. Floors are generally flat with the orchestra
seated above the heads of the patrons on a high, sound wave: sound travels in space in the form of
raked platform [5]. sound waves, which is similar to the motion of a
ripple produced by dropping a pebble into a pond of
water [2].
signal-to-noise ratio (S/N): the difference in dB
between the signal (e.g., speech) level and the noise
level [2]. specular reflection: a mirror type reflection, similar
to the reflection of light from a mirror. The reflected
sound path makes the same angle with the reflecting
sound isolation: a lack of acoustical connection. surface as the incident sound path [2].
There are generally two ways of achieving sound
isolation: (i) by insulation, that is, by inserting a
barrier between the source and the receiver, and (ii) speech intelligibility: a measure of how well speech
by attenuation, that is, by reducing the intensity of can be understood by a listener [2].
sound as the sound travels from the source to the
receiver [2].
speech interference level (SIL): a single-number
rating used to evaluate interference based on the
sound lock: in architectural acoustics, a small space background noise level and voice level [3]. The SIL is
that works as a buffer between a source room and a the arithmetic mean of the noise levels at 500, 1000,
receiving room. A sound lock is usually connected 2000 and 4000 Hz [5].
to the source and receiving rooms with a series of
acoustically gasketed doors [2].
speech transmission index (STI): a calculated
coefficient used for rating the intelligibility of speech
sound pressure level (SPL): sound pressure measured [5]. A value of zero implies zero speech intelligibility,
as a level in decibels typically referenced to 20 micro- and a value of 1, a perfect intelligibility.
Pascals , generally at a specific location or distance
from a sound source [3].
structure-borne sound: sound energy transmitted
through solid elements of a building structure [2].
sound transmission: the propagation of sound energy
through various media [1].
thrust stage theatre: theatres in which the stage thrusts
out from one side of the space into the midst of the
sound transmission class (STC): a single-number audience. The audience is most often located around
rating derived from laboratory measurement of three sides of a thrust stage, though they can be
sound transmission loss. The STC describes the located on two sides opposite each other. Also known
sound-insulating properties in the 100 – 4000 Hz as open stage theatres and sometimes as courtyard
frequency range [3]. theatres. Often, arena theatres are designed for easy
conversion into thrust stages theatres by way of the
G LO S S A R Y 309

removal of one section of audience seating [4]. Engineering, and the Environment. William Stout
Publishers, 1998, California.
transmission: See sound transmission. [4] “theatre design.” Encyclopedia Britannica. Online.
13 May 2010 from www.britannica.com.
[5] Long, Marshall. Architectural Acoustics. Elsevier
transmission loss (TL): See sound transmission loss. Academic Press, 2006, Massachusetts.
[6] Beranek, Leo L. Concert Halls and Opera Houses:
vestibule: an entrance hall inside a building [14]. Music, Acoustics, and Architecture. Springer, 2004,
New York.
vibration: a periodic motion of molecules in an elastic [7] Howard, Hugh. “All You Need to Know About
medium with respect to equilibrium. Vibration by Coffered Ceilings.” Bob Vila Tried, True, Trustworthy
mechanical equipment can be a factor in structure- Home Advice, www.bobvila.com/articles/coffered-
borne noise radiation [3]. ceilings/. Accessed 19 December 2019.
[8] Hardy, Hugh and Kliment, Stephen A. Building
Type Basics for Performing Arts Facilities. John
vibration isolation: the methods used to reduce
Wiley & Sons, Inc., 2006, New York.
vibration in a structure caused by vibrating equipment,
including the use of springs and elastomeric materials [9] Encyclopaedia Britannica. Online. Accessed 19
[3]. December 2019 from www.britannica.com.
[10] Vigener, Nik. “Curtain walls.”Whole Building
Design Guide, Revised by Richard Keleher
warmth: a perception of darker sounds with
and Rob Kistler, 10 May 2016. www.wbdg.org/
richer bass resulting from a slight increase in low-
guides-specifications/building-envelope-design/
frequency reverberation to mid-to-high-frequency
fenestration-systems/curtain-walls. Accessed 19
reverberation [2].
December 2019.
[11] Merriam-Webster Online Dictionary. Accessed
wavelength (λ): the distance between adjacent 19 December 2019 from www.merriam-webster.
regions of a sound wave where identical conditions com/dictionary.
of particle displacement or pressure occur [1].
[12] “Glossary of Terms: Window & Door Terms
You Need to Know.” Windsor Windows and
Note: some definitions are provided verbatim from Doors A Woodgrain Millwork Company, www.
the cited text. Please refer to the texts cited for windsorwindows.com/knowledge-center/windows-
additional explanations or clarifications. and-doors-101/glossary. Accessed 19 December
2019.
[13] Dictionary.com. Accessed 19 December 2019
References
from www.dictionary.com.
[1] Cavanaugh, William J. and Joseph A. Wilkes.
[14] Merriam-Webster Online Dictionary. Accessed
Architectural Acoustics: Principles and Practice.
March 2015 from www.merriam-webster.com/
John Wiley & Sons, Inc., 1999, New York.
dictionary.
[2] Mehta, Madan, Johnson, Jim, and Rocafort, Jorge.
Architectural Acoustics: Principles and Design.
Prentice-Hall, Inc., 1999, New Jersey.
[3] Salter, Charles M. Acoustics: Architecture,
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N OT E S O N C U R R E N C Y, U N I T S , A N D S C A L E
312
N OT E S O N C U R R E N C Y, U N I T S , A N D S C A L E

A
ll reported construction and renovation
costs are approximate. In some cases,
it is difficult to single out the cost of an
individual music education facility when
it is part of a larger complex. The costs given in this
publication were those reported by the contributing
consulting firm, and questions regarding specific costs
should be directed to the individual firms.

All currencies have been converted to United States

Dollars (USD) based on the exchange rate for each
currency at the time of publication. The units for
room dimensions in the information bar at the end
of each music education facility spread are shown in
English units. However, the units given in individual
music education facility descriptions were provided
by the contributing consulting firm, as stated in the
description.

The architectural drawings of the music education

facilities have not been uniformly scaled, and therefore
should not be compared directly without modifying
the drawing scale. Instead the drawings are shown in
the largest size possible, which varies for each page
spread. This format was chosen over uniformly scaled
drawings in favor of showing more architectural detail
for each space. Relative scale for the drawings can be
determined by measuring off common architectural
features such as standard doorways. Overall, these
images have been provided to give the reader a sense
of the layout of the spaces, and should not be read as
official architectural documents.
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A pp e n d i x C:
REFERENCES
316
APPENDIX C:

Beranek, Leo L. “Concert Hall Acoustics-2008.” Dictionary.com. Accessed 19 December 2019 from
Journal of the Audio Engineering Society, vol. 56, no. www.dictionary.com.
7/8, 2008, pp. 532-544.
Dobrin, Peter. “Lenfest Hall Opens a New Era for
---. Concert Halls and Opera Houses: Music, Curtis Institute of Music.” The Philadelphia Inquirer,
Acoustics, and Architecture. Springer, 2004, New 6 September 2011.
York.
Doelle, Leslie L. Environmental Acoustics. McGraw-
---. Noise and Vibration Control. McGraw-Hill, Hill, 1972, New York.
1971, New York.
Egan, M. David. Architectural Acoustics. McGraw-
Boner, Charles K. and Coffeen, Robert C. Acoustics Hill, 1988, New York.
for Performance, Rehearsal, and Practice Facilities:
A Primer for Administrators and Faculties. National
Association of Schools of Music, 2000, Reston, Encyclopaedia Britannica. Online. Accessed 19
Virginia. December 2019 from www.britannica.com.

Bradley, David T., Ryherd, Erica E., and Vigeant, Eplee, David F. An Acoustical Comparison of
Michelle C. (Eds.). Acoustical Design of Theatres for the Stage Environments of the Vienna Grosser
Drama Performance: 1985 – 2010. Acoustical Society Musikvereinsaal and a Scale Model. 1989. University
of America, 2010, New York. of Florida, Master of Architecture Thesis.

Bradley, David T., Ryherd, Erica E., and Ronsse, Field of Dreams. Directed by Phil Alden Robinson,
Lauren M. (Eds.). Worship Space Acoustics: 3 Universal, 1989.
Decades of Design. Springer, 2016, New York.
Gade, A. C. “Musicians Ideas about Room Acoustic
Caller. “You Don’t Build a Church for Easter Sunday: Qualities.” Technical University of Denmark. Report
A Good Lesson for Contact Center Capacity No. 31, 1981.
Planning.” Contact Center 411, 24 April 2014, http://
contactcenter411.com/you-dont-build-a-church- “Glossary of Terms: Window & Door Terms You Need
for-easter-sunday-a-good-lesson-for-contact-center- to Know.” Windsor Windows and Doors A Woodgrain
capacity-planning/. Accessed 25 June 2020. Millwork Company, www.windsorwindows.com/
knowledge-center/windows-and-doors-101/
Carlson, Matt. “The Joke.” Carnegie Hall, https:// glossary. Accessed 19 December 2019.
blog.carnegiehall.org/Explore/Articles/2020/04/10/
The-Joke. Accessed 25 June 2020. Hardy, Hugh and Kliment, Stephen A. Building Type
Basics for Performing Arts Facilities. John Wiley &
Cavanaugh, William J. and Wilkes, Joseph A. Sons, Inc., 2006, New York.
Architectural Acoustics: Principles and Practice.
John Wiley & Sons, Inc., 1999, New York. Howard, Hugh. “All You Need to Know About
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Coffered Ceilings.” Bob Vila Tried, True, Trustworthy Juslin, Patrick N. and Sloboda, John A. (Eds.).
Home Advice, www.bobvila.com/articles/coffered- Music and Emotion: Theory and Research. Oxford
ceilings/. Accessed 19 December 2019. University Press, 2001, New York.

ISO 16:1975. Acoustics - Standard tuning frequency Norwegian Standard NS 8178-2014. Acoustic
(Standard musical pitch). (Standard No. 3601). Criteria for Rooms and Spaces for Music Rehearsal
Retrieved from https://www.iso.org/standard/3601. and Performance. Standard Norge. ICS 91.120.20.
html.
Parkin, Peter H. and Humphreys, Henry Robert.
Knudsen, Vern O. and Harris, Cyril M. “Acoustical Acoustics, Noise and Buildings. Praeger, 1958, New
Designing in Architecture.” Published for the York.
Acoustical Society of America by the American
Institute of Physics. 1950.
Pirn, Rein. “On the Loudness of Music Rooms.” The
Journal of the Acoustical Society of America, vol. 53,
Lubman, David and Wetherill, Ewart A. (Eds.). no. 301, 1973, p. 301.
Acoustics of Worship Spaces. Acoustical Society of
America, 1985, New York.
Sabine, Wallace Clement. Architectural Acoustics.
Paper No. 2 in Collected Papers on Acoustics.
Long, Marshall. Architectural Acoustics. Elsevier Harvard University Press, 1923. Published 1964 by
Academic Press, 2006, Massachusetts. Dover Publications Inc., New York, p. 72-77.

Martineau, Jason. The Elements of Music: Melody, Salter, Charles M. Acoustics: Architecture,
Rhythm, & Harmony. Bloomsbury Publishing USA, Engineering, and the Environment. William Stout
2008, New York. Publishers, 1998, California.

McCue, Edward and Talaske, Richard H. (Eds.). Schafer, R. Murray. The Soundscape: Our Sonic
Acoustical Design of Music Education Facilities. Environment and the Tuning of the World. Destiny
Acoustical Society of America, 1990, New York. Books, 1977, Rochester, Vermont.

Mehta, Madan, Johnson, Jim, and Rocafort, Jorge. Schröder, Manfred R. “Diffuse Sound Reflection by
Architectural Acoustics: Principles and Design. Maximum-Length Sequences.” The Journal of the
Prentice-Hall, Inc., 1999, New Jersey. Acoustical Society of America, vol. 57, no. 1, 1975,
pp. 149-150.
Merriam-Webster Online Dictionary. Accessed 19
December 2019 from www.merriam-webster.com/ Siebein, Gary W. “An Exploration of the Urban
dictionary. Design Possibilities Offered by Soundscape Theory”.
Proceedings of the AESOP-ACSP Joint Congress,
2013, Dublin.
Meyer, Jurgen. Acoustics and the Performance of
Music, 5th edition, Springer Science and Business
Media, 2009, New York. ---. “Creating and Designing Soundscapes.” In Kiang,
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J. et al. (Eds.). Soundscapes of European Cities and Guide, Revised by Richard Keleher and Rob Kistler,
Landscapes. COST Office, Soundscape COST-2013, 10 May 2016. www.wbdg.org/guides-specifications/
Oxford. building-envelope-design/fenestration-systems/
curtain-walls. Accessed 19 December 2019.
---. Project Design Phase Analysis Techniques for
Predicting the Acoustical Qualities of Buildings. Wenger Corporation. Planning Guide for School
University of Florida Architecture and Building Music Facilities. 2008. www.wengercorp.com/
Research Center, 1986, Gainesville, Florida. Construct/docs/Wenger%20Planning%20Guide.pdf.

Siebein, Gary W. and Cervone, Richard P. “Listening Wenger Corporation. Planning Guides for New
to Buildings: Experiencing Concepts in Architectural Construction and Renovation: Acoustics Primer.
Acoustics.” Education Honors Monograph, In Bilello, Wenger Corporation, 2001, Minnesota.
J. (Ed.). American Institute of Architects, 1992,
Washington D.C.

Sobolewski, Rich. “The ‘Temple of Music’ Reopens”

Visions, Mississippi University for Women, www.
muw.edu/visions/features/120-the-temple-of-music-
reopens. Accessed 20 December 2019.

Talaske, Richard H. and Boner, Richard E. Theatres

for Drama Performance: Recent Experiences in
Acoustical Design. American Institute of Physics,
1986, New York.

Poeppel, David, Overath, Tobias, Popper, Arthur N.,

and Fay, Richard R. (Eds.). The Human Auditory
Cortex. Springer 2012, New York.

“theatre design.” Encyclopedia Britannica. Online. 13

May 2010 from www.britannica.com.

Truax, Barry. Acoustic Communication. 2nd edition,

Ablex Publishing, 2001, Westport, Connecticut.

Tsaih, Lucky Shin-Jyun. Soundscape of Music

Rehearsal in Band Room. 2011. University of Florida,
Ph.D. Dissertation.

Vigener, Nik. “Curtain walls.”Whole Building Design

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BY S PAC E T Y P E
322
INDEX A:

Art Gallery / Art Studio 4 2, 62, 1 52, 156, Practice Rooms (cont.):
210, 179 Ensemble 35, 47, 58 , 8 8 , 96, 116 ,
141, 170, 198 , 206, 231, 239 , 2 6 1,
Classroom 3 4 , 4 3, 50 , 58, 66, 7 9, 92, 27 7, 292
10 0 , 1 1 3 , 1 25 , 14 1 , 1 252, 1 61 , 1 70 , 1 79, Instrumental 35, 8 8 , 97, 104, 16 5,
187, 1 9 5 , 21 0 , 2 1 8, 226, 234 , 24 2, 260, 206, 230, 239, 296
2 80 Jazz 97, 141, 174, 195, 235
Opera 231, 242
Control Room 6 3, 83, 93, 1 57 , 1 83, 206, Orchestra 47, 58 , 74, 93, 125 , 14 8 ,
2 2 3 , 23 1 156, 165, 174, 18 2, 235, 243 , 2 52 ,
276, 296
Halls: Organ 141, 206, 218 , 230, 2 56
Concert 4 2, 92, 1 0 8, 1 20 , 1 4 1 , 156, Piano 62, 92, 104, 116, 141, 16 5,
1 70 , 1 78 , 1 90 , 20 6, 21 8, 230, 195, 210, 230, 256, 27 7
26 0, 26 8 , 280 , 289, 296 Percussion 35, 8 8 , 97, 116, 141 , 174 ,
Lecture 1 1 7 , 1 24 , 1 87 , 21 0 , 226, 292 198 , 211, 231, 243, 256
Recital 3 8 , 59, 93, 1 0 4 , 1 1 2, 1 24, 141, Vocal 104, 211, 230, 28 4
1 4 8 , 1 6 4 , 1 74 , 1 82, 1 94 , 20 2, 214,
222, 226, 234 , 260 , 280 , 28 8 Recording Studio 42, 54, 62, 8 2, 93 , 104 ,
Rehearsal 59, 66, 96, 1 32, 24 9, 152, 165, 18 3, 214
29 3
Rehearsal Rooms/Rooms/Studios:
Isolation Booth 6 3, 1 57 Band 43, 54, 62, 75, 8 8 , 100 , 112 ,
128 , 136, 148 , 161, 174, 211, 2 3 9
Lobby 4 2, 5 9 , 78, 1 32, 1 52, 1 61 , 1 74 , 18 6, Choral 54, 62, 70, 8 8 , 101, 1 16 , 12 4 ,
2 1 4, 24 8 136, 148 , 156, 170, 178 , 194, 2 06 ,
238 , 269, 28 4, 293
Opera House 1 4 5 , 1 7 5 Dance 54, 62, 70, 78 , 116, 14 0, 15 6 ,
165, 206, 214, 227, 248 , 2 8 4
Organ Spaces: Ensemble 38 , 55, 62, 70, 8 2 , 9 6 ,
Performance 1 4 0 , 1 52, 20 6, 21 8, 109, 116, 132, 141, 148 , 170, 1 78 ,
23 0 , 26 0 , 288 198 , 206, 215, 231, 239, 25 2 ,
Recital 1 4 0 , 1 86, 20 6, 21 8, 230, 260, 269, 27 7, 28 8 , 296
26 0, 28 0, 288 Instrumental 70, 8 8 , 97, 104, 117 ,
165, 178 , 206, 230, 239, 2 9 6
Piano Lab 6 2, 1 01 , 1 65, 1 98, 21 0 Jazz 54, 67, 97, 132, 141, 156 , 174 ,
18 3, 195, 235, 260
Practice Rooms: Opera 148 , 194, 231, 242, 28 1, 2 8 4
Band 3 5 , 5 0 , 58, 88, 1 0 0 , 1 1 2, 141, Orchestra 54, 62, 74, 93, 101 , 109 ,
1 4 8 , 1 74 , 2 1 0 , 24 2 124, 133, 148 , 165, 174, 18 2, 2 15,
Choral 3 5, 50 , 74 , 88, 1 1 6, 1 25, 141, 234, 243, 252, 260, 276, 2 8 8 ,
1 4 8 , 1 70, 21 0 , 284 296
296
Dance 3 5 , 4 2, 62, 1 1 6, 1 65, 206, Organ 140, 152, 18 5, 206, 2 18 ,
21 4 , 226 , 24 8, 284 230, 239, 257, 28 0, 28 8
BY S PAC E T Y P E 323

Rehearsal Rooms/Rooms/Studios (cont.):

Piano 3 8 , 62, 92, 1 01 , 1 1 6, 1 4 1 , 160,
1 9 5 , 207, 230 , 260 , 27 7
Percussion 51 , 63, 88, 97 , 1 1 6, 1 4 1,
1 74 , 1 9 8 , 21 1 , 231 , 24 3, 260 , 2 72,
28 9
Vocal 6 3 , 83, 1 0 4 , 1 1 7 , 1 28, 1 37 ,
1 6 0 , 21 0 , 230 , 284

String Quartet 1 4 1, 21 5, 27 2

Teaching Room / Teaching Studio 58, 96 ,

1 0 0 , 1 4 8 , 1 70, 1 87 , 1 95, 20 6, 21 4 , 2 35,
2 42 , 25 2, 26 0, 268, 27 2, 280 , 28 4,
2 92

Theatre Spaces:
Black Box 4 2, 62, 70 , 96, 1 1 6, 1 41,
1 94 , 21 5 , 227
Dance 1 4 0
Multi-Use 35, 4 7 , 50 , 63, 7 1 , 7 9 , 101,
1 1 3 , 1 25 , 14 4 , 21 4 , 238, 285
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BY LO C AT I O N
326
INDEX B:

Australia 124 Scripps College | Performing Arts

Center, Claremont
Victoria
Colorado
2 88 University of Melbourne | The
Ian Potter Southbank Centre, 214 University of CO at Colorado
Southbank Springs | Ent Center for the Arts,
Colorado Springs

Canada Connecticut

Alberta 178 Eastern Connecticut State

University | The Fine Arts
2 68 Mount Royal University | Bella Instructional Center, Willimantic
Concert Hall, Calgary
156 Western Connecticut State
University | Visual and Performing
Germany Arts Center, Danbury

144 University of Music Karlsruhe | 242 Yale School of Music | Adams

Campus One, Karlsruhe Center for Musical Arts, New
Haven

Singapore Florida

2 96 Yong Siew Toh Conservatory 34 Academy of the Holy Names,

of Music | Yong Siew Toh Tampa
Conservatory of Music Building
38 Berkeley Preparatory School |
Gries Center for the Arts and
Switzerland Sciences, Tampa

2 76 Musikinsel Rheinau, Rheinau 88 Bethune-Cookman University |

Julia E. Robinson Memorial Music
Hall, Daytona Beach
United States of America
46 Dr. Phillips High School, Orlando
California
50 Edgewater High School, Orlando
2 72 Music Academy of the West | Hind
Hall, Santa Barbara 100 Hillsborough Community College |
Performing Arts Building, Tampa
2 80 San Francisco Conservatory of
Music, San Francisco 210 Southeastern University | College
of Arts & Media, Lakeland
BY LO C AT I O N 327

70 Trinity Preparatory School, Winter Kansas

Park
136 The University of Kansas | Murphy
128 University of Florida | Music Hall: Choral Rehearsal Room,
Building, Gainesville Lawrence

132 University of Florida | Steinbrenner 222 The University of Kansas | Murphy

Band Hall, Gainesville Hall: Swarthout Recital Hall,
Lawrence
Georgia
Maryland
62 Rainey-McCullers School of the
Arts, Columbus 140 University of Maryland | The
Clarice Smith Performing Arts
Illinois Center, College Park

174 DePaul University | Holtschneider Massachusetts

Performance Center, Chicago
248 Boston Conservatory at Berklee |
54 New Trier Township High School, Richard Ortner Studio Building,
Winnetka Boston

108 North Central College | Fine Arts 42 Deerfield Academy | The Hess
Center, Naperville Center for the Arts, Deerfield

194 Northwestern University | Ryan 260 Indian Hill | Music Center,

Center for the Musical Arts, Littleton
Evanston
226 University of Massachusetts Boston
2 92 Wheaton College | The Armerding | University Hall, Boston
Center for Music and the Arts,
Wheaton 78 The Winsor School | The Lubin-
O’Donnell Center for the
Indiana Performing Arts, Athletics, and
Wellness, Boston
96 Earlham College | Center for
the Visual and Performing Arts, 82 ZUMIX, East Boston
Richmond
Michigan
Iowa
18 2 Hope College | Jack H. Miller
2 18 The University of Iowa | Voxman Center for Musical Arts, Holland
Music Building, Iowa City
328
INDEX B:

Minnesota Ohio

1 70 Carleton College | Weitz Center for 28 4 University of Cincinnati | College

Creativity, Northfield Conservatory of Music, Cincinnati

Mississippi 164 Xavier University | Edgecliff Hall,

Cincinnati
10 4 Mississippi University for Women |
Poindexter Hall, Columbus Oklahoma

Missouri 74 Union Public Schools | Fine Arts

Building, Tulsa
186 Missouri State University | Ellis
Hall, Springfield Oregon

Nebraska 116 Reed College | Performing Arts

Building, Portland
230 University of Nebraska Omaha
| Janet A. and Willis S. Strauss 234 The University of Oregon |
Performing Arts Center, Omaha Berwick Hall, Eugene

New Hampshire Pennsylvania

58 Phillips Exeter Academy | 252 Curtis Institute of Music | Lenfest

Forrestal-Bowld Music Center, Hall, Philadelphia
Exeter
256 Curtis Institute of Music | Wyncote
New Jersey Organ Studio, Philadelphia

160 Westminster Choir College | 202 The Pennsylvania State University |

Marion Buckelew Cullen Center, Music Building I, University Park
Princeton
Rhode Island
New York
66 RI Philharmonic Music School |
2 64 Manhattan School of Music, New The Carter Center, East Providence
York
South Dakota
190 Nazareth College | Jane
and Laurence Glazer Music 206 South Dakota State University |
Performance Center, Rochester The Oscar Larson Performing Arts
Center, Brookings
12 0 Rensselaer Polytechnic Institute |
EMPAC, Troy
BY LO C AT I O N 329

Tennessee

1 48 The University of Tennessee

Knoxville | Natalie L. Haslam
Music Center, Knoxville

Washington

1 98 Olympic College | College

Instruction Center, Bremerton

112 Peninsula College | Maier Hall,

Port Angeles

152 Wenatchee Valley College | Music

and Art Center, Wenatchee

238 Whitworth University | Cowles

Music Center, Spokane

Wyoming

92 Casper College | Music Building,

Casper
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332
INDEX C:

Acentech Incorporated Cavanaugh Tocci Associates,

Inc.
2 48 Boston Conservatory at Berklee |
Richard Ortner Studio Building 66 RI Philharmonic Music School |
The Carter Center
42 Deerfield Academy | The Hess
Center for the Arts Clayton Acoustics Group

226 University of Massachusetts Boston 256 Curtis Institute of Music | Wyncote

| University Hall Organ Studio

160 Westminster Choir College | D.L. Adams Associates

Marion Buckelew Cullen Center
92 Casper College | Music Building
82 ZUMIX
Jaffe Holden Acoustics
Acoustic Distinctions, Inc.
264 Manhattan School of Music
1 70 Carleton College | Weitz Center for
Creativity 214 University of CO at Colorado
Springs | Ent Center for the Arts
182 Hope College | Jack H. Miller
Center for Musical Arts 218 The University of Iowa | Voxman
Music Building
190 Nazareth College | Jane
and Laurence Glazer Music 156 Western Connecticut State
Performance Center University | Visual and Performing
Arts Center
206 South Dakota State University |
The Oscar Larson Performing Arts Kahle Acoustics
Center
276 Musikinsel Rheinau
148 The University of Tennessee
Knoxville | Natalie L. Haslam 144 University of Music Karlsruhe |
Music Center Campus One

Acoustics by JW Mooney 296 Yong Siew Toh Conservatory

of Music | Yong Siew Toh
164 Xavier University | Edgecliff Hall Conservatory of Music Building

Acoustonica, LLC Kirkegaard

74 Union Public Schools | Fine Arts 252 Curtis Institute of Music | Lenfest
Building Hall
BY AC O U ST I C A L C O N S U LT I N G F I R M 333

174 DePaul University | Holtschneider McKay Conant Hoover Inc.

Performance Center
272 Music Academy of the West | Hind
1 78 Eastern Connecticut State Hall
University | The Fine Arts
Instructional Center 124 Scripps College | Performing Arts
Center
1 86 Missouri State University | Ellis
Hall R. C. Coffeen Consultant in
Acoustics
194 Northwestern University | Ryan
Center for the Musical Arts 222 The University of Kansas | Murphy
Hall: Swarthout Recital Hall
58 Phillips Exeter Academy |
Forrestal-Bowld Music Center Roland, Woolworth &
Associates, LLC
120 Rensselaer Polytechnic Institute |
EMPAC 104 Mississippi University for Women |
Poindexter Hall
2 80 San Francisco Conservatory of
Music Siebein Associates, Inc.

2 84 University of Cincinnati | College 34 Academy of the Holy Names

Conservatory of Music
38 Berkeley Preparatory School |
1 40 University of Maryland | The Gries Center for the Arts and
Clarice Smith Performing Arts Sciences
Center
88 Bethune-Cookman University |
234 The University of Oregon | Julia E. Robinson Memorial Music
Berwick Hall Hall

238 Whitworth University | Cowles 46 Dr. Phillips High School

Music Center
50 Edgewater High School
2 42 Yale School of Music | Adams
Center for Musical Arts 100 Hillsborough Community College |
Performing Arts Building
Marshall Day Acoustics
62 Rainey-McCullers School of the
2 88 University of Melbourne | The Ian Arts
Potter Southbank Centre
210 Southeastern University | College
of Arts & Media
334
I N D E X C : BY AC O U ST I C A L C O N S U LT I N G F I R M

70 Trinity Preparatory School 292 Wheaton College | The Armerding

Center for Music and the Arts
12 8 University of Florida | Music
Building 78 The Winsor School | The Lubin-
O’Donnell Center for the
13 2 University of Florida | Steinbrenner Performing Arts, Athletics, and
Band Hall Wellness

Sparling, a Stantec Company Threshold Acoustics LLC /

LKAcoustics Design
15 2 Wenatchee Valley College | Music
and Art Center 260 Indian Hill | Music Center

Stantec Consulting Services The University of Kansas School

of Architecture Acoustics Studio
198 Olympic College | College
Instruction Center 136 The University of Kansas | Murphy
Hall: Choral Rehearsal Room
112 Peninsula College | Maier Hall

116 Reed College | Performing Arts

Building

TALASKE | sound thinking

2 68 Mount Royal University | Bella

Concert Hall

10 8 North Central College | Fine Arts

Center

202 The Pennsylvania State University |

Music Building I

Threshold Acoustics LLC

96 Earlham College | Center for the

Visual and Performing Arts

54 New Trier Township High School

230 University of Nebraska Omaha

| Janet A. and Willis S. Strauss
Performing Arts Center
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