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Music genre

Ambient music
Stylistic origins
  • Electronic
  • beautiful music
  • background music
  • light music
  • easy listening
  • impressionist (furniture)
  • minimal
  • experimental
  • drone[1]
  • krautrock
  • dub
Cultural origins 1960s–1970s, Great britain, Jamaica (dub music)[2] and Japan[three] [four]
Derivative forms
  • Ambience business firm
  • ambient techno
  • biomusic
  • chill-out
  • downtempo
  • IDM
  • new age
  • post-rock
  • space music
  • trance
  • trip hop
Subgenres
  • Night ambient
  • drone[1]
  • lowercase
Fusion genres
  • Ambient dub
  • ambient house
  • ambience techno
  • ambience pop
  • ambient black metal
  • illbient
  • atmospheric pulsate and bass
  • psybient
Other topics
  • Ambience artists
  • list of electronic music genres
  • dissonance music

Ambient music is a genre of music that emphasizes tone and atmosphere over traditional musical construction or rhythm. A grade of instrumental music, it may lack net composition, beat, or structured tune.[5] It uses textural layers of sound which tin reward both passive and active listening[6] and encourage a sense of calm or contemplation.[7] [8] The genre is said to evoke an "atmospheric", "visual",[9] or "unobtrusive" quality.[10] Nature soundscapes may exist included, and the sounds of acoustic instruments such as the piano, strings and flute may be emulated through a synthesizer.[eleven]

The genre originated in the 1960s and 1970s, when new musical instruments were being introduced to a wider market, such as the synthesizer.[12] It was presaged by Erik Satie's furniture music and styles such as musique concrète, minimal music, Jamaican dub music and German electronic music, only was prominently named and popularized by British musician Brian Eno in 1978 with his album Ambient i: Music for Airports; Eno opined that ambient music "must be every bit ignorable as it is interesting".[xiii] It saw a revival towards the tardily 1980s with the prominence of house and techno music, growing a cult following by the 1990s.[14] Ambient music may accept elements of new-historic period music and drone music, as some works may apply sustained or repeated notes.[15]

Ambient music did not achieve large commercial success, being criticized every bit everything from "dolled-upwardly new historic period, [..] to boring and irrelevant technical noodling".[16] Yet, it has attained a sure degree of acclaim throughout the years, especially in the Cyberspace age. Due to its relatively open style, ambient music often takes influences from many other genres, ranging from classical, avant-garde music, folk, jazz, and globe music, amongst others.[17] [18]

History [edit]

Origins [edit]

Erik Satie is acknowledged equally an of import precursor to modern ambience music and an influence on Brian Eno.

As an early on 20th-century French composer, Erik Satie used such Dadaist-inspired explorations to create an early class of ambient/background music that he labeled "furniture music" (Musique d'ameublement). This he described every bit being the sort of music that could be played during a dinner to create a groundwork atmosphere for that action, rather than serving as the focus of attention.[19]

In his own words, Satie sought to create "a music...which volition exist function of the noises of the environment, will take them into consideration. I think of it as melodious, softening the noises of the knives and forks at dinner, not dominating them, not imposing itself. It would fill up up those heavy silences that quondam autumn between friends dining together. It would spare them the trouble of paying attention to their own banal remarks. And at the aforementioned time it would neutralize the street noises which so indiscreetly enter into the play of chat. To make such music would be to respond to a need."[20] [21]

In 1948, French composer & engineer, Pierre Schaeffer coined the term musique concrète. This experimental style of music used recordings of natural sounds that were so modified, manipulated or effected to create a composition.[22] Shaeffer's techniques of using tape loops and splicing are considered to exist the precursor to modern day sampling.

In 1952 John Cage released his famous three-move composition[23] iv'33 which is a performance of complete silence for four minutes and thirty-three seconds. The piece is intended to capture the ambience sounds of the venue/location of the operation and have that be the music played.[24] Cage has been cited past seminal artists such as Brian Eno as influence.[24]

1960s [edit]

In the 1960s, many music groups experimented with unusual methods, with some of them creating what would later be chosen ambient music.

In the summertime of 1962, composers Ramon Sender and Morton Subotnick founded The San Francisco Tape Music Heart which functioned both as an electronic music studio and concert venue.[25] Other composers working with tape recorders became members and collaborators including Pauline Oliveros, Terry Riley and Steve Reich. Their compositions, among others, contributed to the evolution of minimal music (as well called minimalism), which shares many similar concepts to ambience music such as repetitive patterns or pulses, steady drones, and consonant harmony.[26]

Many records were released in Europe and the United states betwixt the mid-1960s and the mid-1990s that established the conventions of the ambient genre in the anglophone popular music market.[27] Some 1960s records with ambience elements include Music for Yoga Meditation and Other Joys and Music for Zen Meditation by Tony Scott, Soothing Sounds for Baby by Raymond Scott, and the first tape of the Environments (anthology series) by Irv Teibel.

In the late 60s, French composer Éliane Radigue composed several pieces by processing record loops from the feedback between 2 tape recorders and a microphone.[28] In the 70s, she and so went on to compose similar music almost exclusively with an ARP 2500 synthesiser, and her long, tiresome compositions accept often been compared to drone music.[29] [30] In 1969, the grouping COUM Transmissions were performing sonic experiments in British fine art schools.[31]

1970s [edit]

Developing in the 1970s, ambient music stemmed from the experimental and synthesizer-oriented styles of the period.

Between 1974 and 1976, American composer Laurie Spiegel created her seminal piece of work The Expanding Universe, created on a computer-analog hybrid system called GROOVE.[32] In 1977, her composition, Music of the Spheres was included on Voyager i and 2's Golden Tape.[33]

In April 1975, Suzanne Ciani gave two performances on her Buchla synthesizer – one at the WBAI Free music store and one at Phil Niblock's loft.[34] These performances were released on an archival album in 2022 entitled Buchla Concerts 1975. According to the record label, these concerts were part live presentation, office grant awarding and role educational demonstration.[35]

Withal, information technology wasn't until Brian Eno coined the term in the mid-70s that ambient music was defined as a genre. Eno went on to record 1975's Discreet Music with this in heed, suggesting that it be listened to at "comparatively low levels, even to the extent that it frequently falls below the threshold of audibility",[20] referring to Satie's quote about his musique d'ameublement.[36]

Other contemporaneous musicians creating ambience-manner music at the time included Jamaican dub musicians such equally King Tubby,[2] Japanese electronic music composers such as Isao Tomita[iii] [4] and Ryuichi Sakamoto every bit well equally the psychoacoustic soundscapes of Irv Teibel's Environments series, and German bands such as Popol Vuh, Ash Ra Tempel and Tangerine Dream.

The impact the rise of the synthesizer in modern music had on ambient as a genre cannot be overstated; as Ralf Hutter of early electronic pioneers Kraftwerk said in a 1977 Billboard interview: "Electronics is across nations and colors...with electronics everything is possible. The only limit is with the composer".[37] The Xanthous Magic Orchestra developed a distinct fashion of ambient electronic music that would later be developed into ambient firm music.[38]

Brian Eno [edit]

Brian Eno (pictured in 1974) is credited with coining the term "ambient music".

The English producer Brian Eno is credited with coining the term "ambience music" in the mid-1970s. He said other artists had been creating similar music, merely that "I just gave it a proper name. Which is exactly what information technology needed ... Past naming something you create a difference. You say that this is now real. Names are very of import."[39] He used the term to draw music that is different from forms of canned music similar Muzak.[40]

In the liner notes for his 1978 album Ambient 1: Music for Airports, Eno wrote:[41]

Whereas the extant canned music companies go on from the basis of regularizing environments by blanketing their acoustic and atmospheric idiosyncrasies, Ambience Music is intended to heighten these. Whereas conventional groundwork music is produced by stripping away all sense of doubt and dubiety (and thus all 18-carat interest) from the music, Ambient Music retains these qualities. And whereas their intention is to "brighten" the environment by calculation stimulus to information technology (thus supposedly alleviating the tedium of routine tasks and leveling out the natural ups and downs of the body rhythms) Ambience Music is intended to induce calm and a space to think. Ambient Music must exist able to accommodate many levels of listening attention without enforcing ane in particular; it must be every bit ignorable as it is interesting.

Eno, who describes himself equally a "not-musician", termed his experiments "treatments" rather than traditional performances.[41] [42]

1980s [edit]

In the late 70s, new-historic period musician Laraaji began busking in New York parks and sidewalks, including Washington Foursquare Park. It was there that Brian Eno heard Laraaji playing and asked him if he'd like to record an album. Day of Radiance released in 1980, was the third anthology in Eno's Ambient serial. Although Laraaji had already recorded a number of albums, this i gave him international recognition.[43] Dissimilar other albums in the serial, Solar day of Radiance featured more often than not acoustic instruments instead of electronics.

In the mid-1980s, the possibilities to create a sonic landscape increased through the use of sampling. Past the late 1980s, there was a steep increment in the incorporation of the computer in the writing and recording process of records. The sixteen-flake Macintosh platform with built-in audio and comparable IBM models would find themselves in studios and homes of musicians and record makers.[44]

All the same, many artists were still working with counterpart synthesizers and audio-visual instruments to produce ambient works.

In 1983, Midori Takada recorded her first solo LP Through The Looking Glass in two days. She performed all parts on the album, with various instrumentation including percussion, marimba, gong, reed organ, bells, ocarina, vibraphone, piano and glass Coca-Cola bottles.[45]

Between 1988 and 1993 Éliane Radigue produced iii hr-long works on the ARP 2500 which were subsequently issued together every bit La Trilogie De La Mort.[46]

Also in 1988, founding member and director of the San Francisco Tape Music Centre, Pauline Oliveros coined the term "deep listening" after she recorded an anthology inside a huge secret cistern in Washington which has a 45-2nd reverberation time. The concept of Deep Listening and then went on to become "an aesthetic based upon principles of improvisation, electronic music, ritual, teaching and meditation".[47]

1990s [edit]

By the early 1990s, artists such as the Orb, Aphex Twin, Seefeel, the Irresistible Force, Biosphere, and the Higher Intelligence Agency gained commercial success and were being referred to by the popular music press as ambient firm, ambient techno, IDM or simply "ambience". The term chillout emerged from British ecstasy culture which was originally applied in relaxed downtempo "chillout rooms" exterior of the main dance floor where ambient, dub and downtempo beats were played to ease the tripping mind.[48] [49]

London artists such as Aphex Twin (specifically: Selected Ambience Works Volume II, 1994), Global Advice (76:14, 1994), The Future Sound of London (Lifeforms, 1994, ISDN, 1994), the Blackness Dog (Temple of Transparent Assurance, 1993), Autechre (Incunabula, 1993, Bister, 1994), Boards of Canada, and The KLF's Chill Out, (1990), all took a part in popularising and diversifying ambient music where information technology was used as a calming respite from the intensity of the hardcore and techno popular at that fourth dimension.[48]

Other global ambient artists from the 1990s include American composers Stars of the Lid (who released 5 albums during this decade), and Japanese artist Susumu Yokota whose album Sakura (1999) featured what Pitchfork magazine called "dreamy, processed guitar as a distinctive audio tool".[50]

2000s–present [edit]

By the late 2000s and 2010s, ambient music also gained widespread recognition on YouTube, with uploaded pieces, commonly ranging from 1 to 8 hours long, getting over millions of hits. Such videos are unremarkably titled, or are generally known as, "relaxing music", and may exist influenced past other music genres. Ambient videos assist online listeners with yoga, report, slumber (see music and sleep), massage, meditation and gaining optimism, inspiration, and creating peaceful atmosphere in their rooms or other environments.[51] Many uploaded ambient videos tend to exist influenced by biomusic where they characteristic sounds of nature, though the sounds would exist modified with reverbs and delay units to make spacey versions of the sounds equally role of the ambient. Such natural sounds often include those of a beach, rainforest, thunderstorm and rainfall, among others, with vocalizations of animals such as bird songs beingness used as well. Pieces containing binaural beats are common and popular uploads as well, which provide music therapy and stress management for the listener.[52] [53] [a]

Verified YouTube channels, such as aptly titled Ambience has over 500,000 subscribers.[57] Other verified channels that also publish ambient music include, Meditation Relax Music, which has over two 1000000 subscribers,[58] Soothing Relaxation with more than eight meg subscribers,[59] and Relaxing White Noise with over 500,000 subscribers, amidst others. iTunes and Spotify have digital radio stations that feature ambient music, which are mostly produced by independent labels.[v]

Acclaimed ambient music of this era (co-ordinate to Pitchfork magazine) include works by Max Richter, Julianna Barwick, Grouper, William Basinski, Oneohtrix Signal Never, and the Caretaker.[lx] [61] [62] [63] In 2011, American composer Liz Harris recording as Grouper released the anthology AIA: Alien Observer, listed by Pitchfork at number 21 on their "fifty Best Ambience Albums of All Time".[64] In 2011, Julianna Barwick released her first full-length album The Magic Place. Heavily influenced by her childhood experiences in a church building choir, Barwick loops her wordless vocals into ethereal soundscapes.[65] It was listed at number 30 on Pitchfork's 50 Best Ambience Albums of All Time.[64] Subsequently several self-released albums, Buchla composer, producer and performer Kaitlyn Aurelia Smith was signed to contained tape characterization Western Vinyl in 2015.[66] In 2016, she released her second official album EARS. It paired the Buchla synthesizer with traditional instruments and her compositions were compared to Laurie Spiegel and Alice Coltrane.[67] Kaitlyn has as well collaborated with other well-known Buchla performer, Suzanne Ciani.[68] Iggy Pop's 2022 anthology Free features ambience soundscapes.[69] Mallsoft, a subgenre of vaporwave, features various ambient influences, with artists such as Cat Arrangement Corp. and Groceries exploring ambient sounds typical of malls and grocery stores.[70]

Related and derivative genres [edit]

Ambient dub [edit]

Ambient dub is a fusion of ambient music with dub. The term was first coined by Birmingham's now defunct characterization "Beyond Records" in early 1990s. The label released series of albums Ambience Dub Volume 1 to four that inspired many artists, including Pecker Laswell, who used the same phrase in his music project Divination, where he collaborated with other artists in the genre. Ambience dub adopts dub styles fabricated famous by King Tubby and other Jamaican sound artists from the 1960s to the early 1970s, using DJ-inspired ambient electronica, complete with all the inherent drop-outs, echo, equalization and psychedelic electronic effects. Information technology often features layering techniques and incorporates elements of world music, deep bass lines and harmonic sounds.[2] Co-ordinate to David Toop, "Dub music is similar a long echo filibuster, looping through time...turning the rational order of musical sequences into an ocean of awareness."[71] Notable artists within the genre include Dreadzone, Higher Intelligence Agency, The Orb, Gaudi,[72] Ott, Loop Guru, Woob and Transglobal Secret[73] likewise as Banco de Gaia.

Ambient house [edit]

Ambient house is a musical category founded in the belatedly 1980s that is used to describe acid house featuring ambient music elements and atmospheres.[74] Tracks in the ambience business firm genre typically characteristic iv-on-the-flooring beats, synth pads, and vocal samples integrated in an atmospheric way.[74] Ambience house tracks generally lack a diatonic center and characteristic much atonality forth with synthesized chords. The Dutch Brainvoyager is an example of this genre. Illbient is another form of ambient house music.

Ambience techno [edit]

Ambient techno is a music category emerging in the belatedly 1980s that is used to describe ambience music atmospheres with the rhythmic and melodic elements of techno.[75] Notable artists include Aphex Twin, B12, Autechre, and the Black Canis familiaris.

Ambience industrial [edit]

Ambient industrial is a hybrid genre of industrial and ambience music; the term industrial existence used in the original experimental sense, rather than in the sense of industrial metal.[76] A "typical" ambient industrial piece of work (if there is such a thing) might consist of evolving dissonant harmonies of metallic drones and resonances, extreme low frequency rumbles and car noises, perhaps supplemented past gongs, percussive rhythms, bullroarers, distorted voices or anything else the artist might care to sample (oft processed to the point where the original sample is no longer recognizable).[76] Entire works may be based on radio telescope recordings, the babbling of newborn babies, or sounds recorded through contact microphones on telegraph wires.[76]

Ambience pop [edit]

Ambient pop is an extension of dream pop, possessing a shape and form common to conventional pop, while its electronic textures and atmospheres mirror the meditative qualities of ambience. Information technology is influenced by the lock-groove melodies of krautrock, but is less abrasive.[77]

Dark ambience [edit]

Brian Eno's original vision of ambient music equally unobtrusive musical wallpaper, later on fused with warm business firm rhythms and given playful qualities by the Orb in the 1990s, establish its opposite in the style known as dark ambience. Populated by a wide assortment of personalities—ranging from older industrial and metal experimentalists (Contemptuousness's Mick Harris, Electric current 93'south David Tibet, Nurse with Wound's Steven Stapleton) to electronic boffins (Kim Cascone/PGR, Psychick Warriors Ov Gaia), Japanese dissonance artists (K.G. Null, Merzbow), and latter-day indie rockers (Main, Bark Psychosis) – nighttime ambient features toned-down or entirely missing beats with unsettling passages of keyboards, eerie samples, and treated guitar effects. Like most styles related in some fashion to electronic/trip the light fantastic toe music of the '90s, it's a very nebulous term; many artists enter or leave the fashion with each successive release.[78] Related styles include ambient industrial (see below) and isolationist ambient.

Space music [edit]

Infinite music, also spelled "Spacemusic", includes music from the ambient genre as well as a broad range of other genres with certain characteristics in common to create the experience of contemplative spaciousness.[79] [eighty] [81]

Space music ranges from simple to complex sonic textures sometimes defective conventional melodic, rhythmic, or vocal components,[82] [83] generally evoking a sense of "continuum of spatial imagery and emotion",[84] beneficial introspection, deep listening[85] and sensations of floating, cruising or flying.[86] [87]

Space music is used by individuals for both background enhancement and foreground listening, oft with headphones, to stimulate relaxation, contemplation, inspiration and generally peaceful expansive moods[88] and soundscapes. Infinite music is as well a component of many film soundtracks and is commonly used in planetariums, as a relaxation assist and for meditation.[89]

Notable ambience-music shows on radio and via satellite – Over The Air [edit]

  • Sirius XM Chill plays ambient, chillout and downtempo electronica.
  • Sirius XM Spa blends ambient and new age instrumental music on aqueduct XM 68.
  • Echoes, a daily ii-hour music radio programme hosted by John Diliberto featuring a soundscape of ambient, spacemusic, electronica, new acoustic and new music directions – founded in 1989 and syndicated on 130 radio stations in the USA.
  • Hearts of Space, a program hosted by Stephen Hill and broadcast on NPR in the United states since 1973.[90] [91]
  • Musical Starstreams, a Us-based commercial radio station and Internet plan produced, programmed and hosted by Forest since 1981.
  • Star's End, a radio show on 88.v WXPN, in Philadelphia, Pennsylvania. Founded in 1976, it is the 2d longest-running ambient music radio evidence in the world.[92]
  • Ultima Thule Ambience Music, a weekly xc-minute bear witness broadcast since 1989 on community radio across Australia.
  • Avaruusromua, the proper noun meaning "space droppings", is a 60-infinitesimal ambience and avant-garde radio programme circulate since 1990 on Finnish public broadcaster YLE'southward various stations.[93]

Come across also [edit]

  • Ambient video
  • Background music
  • Muzak
  • Easy listening
  • Furniture music
  • Glitch
  • Incidental music
  • List of ambient artists
  • Listing of electronic music genres
  • Mallsoft
  • Minimalist music
  • Music and sleep
  • Sound map
  • Sea of Audio
  • Vaporwave

Notes [edit]

  1. ^ One notable exception is the Caretaker's Everywhere at the Cease of Time, an ambient series of albums featuring over 22 millions views as of 11 May 2022. Information technology is widely considered to evoke strong negative emotions due to its musical representation of Alzheimer's illness.[54] [55] [56]

References [edit]

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  2. ^ a b c Holmes, Thom (2008). Electronic and Experimental Music: Engineering science, Music, and Culture. Routledge. p. 403. ISBN978-0203929599 . Retrieved ane April 2013.
  3. ^ a b Q&A with Isao Tomita Archived 2017-04-24 at the Wayback Machine, Tokyo Weekender
  4. ^ a b Isao Tomita, an Early on Major Japanese Electronic Composer, Is Dead Archived 2017-04-24 at the Wayback Machine, Vice
  5. ^ a b The Ambience Century past Mark Prendergast, Bloomsbury, London, 2003.
  6. ^ Elevator Music: A Surreal History of Muzak, Like shooting fish in a barrel Listening & Other Moodsong past Joseph Lanza, Quartet, London, 1995.
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External links [edit]

  • Ambience music at Curlie
  • Ambience Techno in Audio on Sound
  • Ambience Music Guide – Comprehensive ambient music resource site

chapmanoffeir.blogspot.com

Source: https://en.wikipedia.org/wiki/Ambient_music

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