DG 1110.3.120
DESIGN GUIDE: MUSIC AND DRAMA CENTERS
JANUARY 1981
CHAPTER 3: MUSIC ROOM QUALITIES
3. Environment
7. Ability to Adjust Sound Levels
Technicians must hear what the audience hears
Heat generated by lighting equipment and an
in order to adjust artificially produced sound lev-
assembled crowd must be dealt with by an air
els, or to signal actors or musicians if an imbal-
conditioning system that does not hinder per-
formance activities, create noise and draft, or
ance occurs.
obtrude on enjoyment of the drama. Environ-
8. Overall Influence of Hearing Factors, Drama
mental systems should readily adjust to varying
Hearing requirements set up criteria for rever-
demand.
beration, ambient noise levels, sound intensity,
Environmental quality is measured by the ab-
time delay and directionality that in general will
sence of discomfort. A poor system can restrict
be shown to relate to details of the Room's en-
audience size and stagecraft techniques em-
closure and boundary surfaces. Hearing factors
ployed. It can also be expensive to operate in the
also influence pit and stagehouse design, control
long run.
locations, and sound system criteria.
4. Flexibility
The ability to use the Room in different ways is
C. OTHER FACTORS
to some extent proportional to the magnitude
and flexibility of equipment systems. However,
Some desirable Room qualities stem from func-
reliance on equipment can be a limiting factor,
tional needs that have more to do with ease of
and very expensive, if equipment is not planned
use, economy, comfort and safety than with the
as accessory to the Room itself
performance experience. These have been called
Flexibility is evaluated as the ability to accom-
secondary and tertiary considerations (see 3-2b)
modate anticipated uses, not just any use. This
to denote order of treatment.
means providing the Room qualities for each
use, some of which imply unchangeable con-
1. Equipment
crete decisions that will rule out options for other
Lighting, rigging and scene handling activity in-
qualities. The basic choice of arrangement (3-2c)
volve a great deal of physical mobility during the
must be made in anticipation of multiple uses.
performance and its preparation, but it must not
Poor planning for flexibility results in facilities
impinge on or distract from the performance.
that are not especially good for anything.
Also, the design and location of this equipment
in turn influences Room configuration, building
If a Drama Room is to be used for Music, it will
structure and power system design.
be easier to adjust for the vision factors than
hearing (acoustic) qualities. Without sophisti-
Equipment quality refers to usefulness and suf-
cated electronics, the Multi-Use Drama Room
ficiency in application. Quantities of equipment
has distinct limitations in this regard.
can be rented when needed, but the basic sys-
tems must be completely thought out to antici-
pate a range of circumstances. Poor equipment
limits production choices.
3-4. MUSIC ROOM
2. Access
QUALITIES
Moving scenery and people on and off stage in
various ways before and during performance is
no small feat. Lighting and rigging equipment
A. HEARING FACTORS
requires technicians' access for adjustment, con-
trol and maintenance in place. Moreover, the
need for safe and efficient audience entry and
A Room built for Music is intended to add to the
exit paths will affect house layout. These all have
sounds experienced, just as the Drama Room
direct consequences in physical form.
adds light, color, movement and continuity. We
cannot define why music is pleasurable, but
Access quality is judged by the ease and effi-
there are qualities of live performance that can-
ciency of its accomplishment. Poor access can
not be recorded and reproduced elsewhere;
limit production choices and lengthen produc-
every space adds its characteristic stamp to the
tion time. It can also prohibit adjustment of
sound generated in it. Musicians adjust their
house capacity and arrangement.
technique in response to what they see and hear
3-15
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