Using Space for Artistic Needs - Literature review Example

?Literature Review The capability of opening a rehearsal studio in the UK is one which requires looking at a variety of perspectives. The rehearsal space is different than any other form of business, specifically because it is based on socio-cultural movements and the needs of artists within the community. The question of opening a studio is also dependent on the changes in the economy and how this affects the different values and needs that are a part of artists and the community. Defining the various perspectives of using a rehearsal space and understanding whether it is feasible to do is one that can then promote and change the alternatives available to musicians while determining if this can work effectively within the environment. Using Space for Artistic Needs The main use of a rehearsal studio is to help to stimulate an environment and create a space for musicians and other performers. If there aren’t spaces available, then it becomes difficult to prepare for performances, recording and other alternatives that are needed to be a growing musician. In a specific study, (Fewster, Wood, 2009), there was an examination of whether musicians and artists required spaces for performance. The comparison made was to virtual environments that led to a hybrid experience with technology as well as other alternative environments which were available for rehearsing. Through this study, it was found that the change in environment also led to direct changes in the formation of music. When the rehearsal space was used through a 3D alternative or virtual collaboration space, for instance, the environment changed to create a hybrid effect. This combined higher amounts of technology with the music, as opposed to having the needed performance options. The environment with the space was able to offer a different sense of experimentation, specifically with interactions between the members that allowed for collaboration to move forward in a different alternative (Fewster, Wood, 2009). The concept of changing the environment and the mood with collaboration is important for various reasons. For those collaborating with several individuals is the ability to interact differently and to allow creativity to move into a different set of alternatives. This offers new levels of professionalism and enhances the creativity needed through the use of space. The environment is combined with the concept of using creative space. When the creativity is in the surrounding environment, it becomes easier for musicians and other artists to collaborate and work toward enhanced materials. The development of the creative space provides more opportunities to find unique aspects to a band or group while offering an outside area in which musicians and others can perform. The important aspect to consider is based on investing in the creation of space that enhances creativity and which is conducive to the needs of artists, specifically because this changes the reactions and opportunities available through a given area (Martin, 2010). It should be noted that the ability to offer a rehearsal space isn’t only dependent on musicians with specific needs. Rehearsal space is also changing shape and form because of the emerging technologies and the need to have collaborative areas for those interested in music. The concept of body space activity is one which is now being used among musicians and other performers. However, the ability to produce these activities is also dependent on having other applications and technologies within the space. For instance, recording equipment, materials and other applications which can form specific roles can be used for creative needs. The most common alternatives which are now in the UK are based on the use of creative spaces in urban regions, which has expanded the idea of rehearsal spaces. This is one which is now inclusive of an environment for creativity as well as materials that provide physical access to those who wouldn’t have the options available in another given arena (Tandt, 2006). Socio-cultural Changes Even though there are several alternatives available with musicians in need of rehearsal space, there is also the need to consider the socio – cultural changes now present in the UK. This is not only important to define among the musicians, but also to audiences which would come to performances with those in the UK. While performances and concerts are still a main aspect of entertainment within the UK, there are also transformative alternatives available. This is inclusive of technology, online concerts and other areas which music can be found in. The transition which is being made has led to several going through socio-cultural changes that have changed the movement of going to performances or concerts into one which is practiced more inside of the home. The question which is now arising is based on whether the movement of digital products will continue to emerge over other alternatives, as well as how this will affect the performances and demand for musicians within society (Pearson, Somekh, 2006). The concepts that are occurring with trends and movements within society are not only contributing to vast changes with the performance activities and responses. Musicians and those within society now have to re-examine how music is created, distributed and shared with others. Most note that the digital age is the main change that has occurred, specifically which has altered demands with both musicians and individuals within society. However, the trends and movements are also changing within the industry, specifically with expectations that are changing with professionals and the amount of work which is done in society. The alterations within society as well as with cultural demands are creating the main differences with both the creative process that is used as well as the results which are expected for both performances and distribution of music (Dillon, 2006). Economy of Rehearsal Spaces Another aspect which defines the need for rehearsal spaces is based on the current economic status and what is occurring within society. The first challenge with music comes from musicians and the expectations and demands with economy. There are two levels that are now seen among musicians and economic status. The first comes with the popular music and performances by professional. The majority of financial support goes to those musicians that are looking at the career as a profession and which either has signed contracts or are working with a larger company. The other level of musicians comes from independent artists that are working as a hobby or part time within music, which usually limits the financial capabilities available. The role of musicians and music is further complicated by the movement into capitalism. This defines the popularity of music by the number of fans and responses from the music, as opposed to offering specific performances and alterations in productivity. The question with musicians becomes based on profit making alternatives and the limitations often associated with the creation of music, making rehearsal spaces a secondary option to most musicians (Coriat, Petit, Schmeder, 2006). The complexity of economics is one which is also furthered with trends and expectations in society. The standards have led to a sense of economic regeneration, which creates specific expectations from musicians in terms of economy. If a certain amount of financial profits aren’t produced by the musicians, then complications arise with recording, producing and performing. The investment in music then becomes complex by needing to meet the economic regeneration as well as the approach which most have in terms of meeting the needs of musicians financially. It is known that this is altered not only by the general economics of popular music and the financial systems known for a specific genre of music. There are also alterations in the region and place which one is in, specifically which is consistent with identity, place and the expectations which are identified by the relationship between musicians and society. For instance, a jazz musician has a different set of expectations then those in pop music, creating different economic regeneration standards that set the economic and financial alternatives that musicians have to carry. The result is that investments in performances, musical instruments and other needs take priority in order to keep with the economic associations (Hudson, 2006). The standards which have now been created have led to a gap with musicians, performances and the expectations and standards for music. This is now associated with the concept of neo – Bohemia. The concept associates the musicians with being a part of commerce and investing with music in order to make a profit. The commerce which is associated with music is known to take over the generalized musical needs and associations with artists. Social and cultural implications also relate to this as individuals in society are willing to invest in certain types of music because of the commercial expectations that have arisen. For musicians that have recording contracts or which are introduced to music in certain ways are specific expectations of meeting these standards. Independent musicians, that are more likely to need a rehearsal space, may not be able to meet these standards. This leads to an imbalance with the art and commerce and creates the inability for those most in need of spaces to not have the available commerce (Lloyd, 2010). Summary The concept of building rehearsal studios within the UK is one which also considers a variety of implications. The needs of musicians, changes in socio – cultural demands and the economics all depict whether musicians will need the rehearsal spaces or have the practical options of using the area. Defining the needs of musicians as well as the capabilities available to respond to a studio space while making a profit becomes complex based on the needs and trends of musicians as well as of society. The several trends which are currently in Britain point to the complications of creating spaces for musicians and artists as well as the conditions which are surrounding musicians with the need to develop a specific space. References Coriat, Benjamin, Pascal Petit, Genevieve Schmeder. (2006). The Hardship of Nations: Exploring the Paths of Modern Capitalism. UK: Edward Elgar Publishing. Dillon, Teresa. (2006). “Hail to the Thief: The Appropriation of Music in the Digital Age.” Consuming Music Together 35 (6). Fewster, Russell, Denise Wood. (2009). “Performance Pedagogy through Research in Real and Virtual Spaces.” Ascilite Aukland. Hudson, Ray. (2006). “Regions and Place: Music, Identity and Place.” Progress in Human Geography 30 (5). Lloyd, Richard. (2010). Neo – Bohemia: Art and Commerce in the Postindustrial City. UK: Taylor and Francis. Martin, Paul. (2010). Making Space for Creativity UK: University of Brighton. Pearson, Matthew, Bridget Somekh. (2006). “Learning Transformation with Technology: A Question of Sociocultural Contexts?” International Journal of Qualitative Studies in Education 19 (4). Tandt, Den. (2006). “Dancing in the Virtual Streets: Urban Space in Music Videos, from Neighborhood to Technopolis.” A Critical Journal of Popular Art 15 (7). Read More