Ambient Music the Complete Guide
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PDF generated at: Mon, 05 Dec 2011 00:43:32 UTC Contents Articles Ambient music 1 Stylistic origins 9 20th-century classical music 9 Electronic music 17 Minimal music 39 Psychedelic rock 48 Krautrock 59 Space rock 64 New Age music 67 Typical instruments 71 Electronic musical instrument 71 Electroacoustic music 84 Folk instrument 90 Derivative forms 93 Ambient house 93 Lounge music 96 Chill-out music 99 Downtempo 101 Subgenres 103 Dark ambient 103 Drone music 105 Lowercase 115 Detroit techno 116 Fusion genres 122 Illbient 122 Psybient 124 Space music 128 Related topics and lists 138 List of ambient artists 138 List of electronic music genres 147 Furniture music 153 References Article Sources and Contributors 156 Image Sources, Licenses and Contributors 160 Article Licenses License 162 Ambient music 1 Ambient music Ambient music Stylistic origins Electronic art music Minimalist music [1] Drone music Psychedelic rock Krautrock Space rock Frippertronics Cultural origins Early 1970s, United Kingdom Typical instruments Electronic musical instruments, electroacoustic music instruments, and any other instruments or sounds (including world instruments) with electronic processing Mainstream Low popularity Derivative forms Ambient house – Ambient techno – Chillout – Downtempo – Trance – Intelligent dance Subgenres [1] Dark ambient – Drone music – Lowercase – Black ambient – Detroit techno – Shoegaze Fusion genres Ambient dub – Illbient – Psybient – Ambient industrial – Ambient house – Space music – Post-rock Other topics Ambient music artists – List of electronic music genres – Furniture music Ambient music is a musical genre that focuses largely on the timbral characteristics of sounds, often organized or performed to evoke an "atmospheric",[2] "visual"[3] or "unobtrusive" quality. History The roots of ambient music go back to the early 20th century. In particular, the period just before and after the first world war gave rise to two significant art movements that encouraged experimentation with various musical (and non musical) forms, while rejecting more conventional, tradition-bound styles of expression. These art movements were called Futurism and Dadaism. Aside from being known for their painters and writers, these movements also attracted experimental and 'anti-music' musicians such as Francesco Balilla Pratella of the pre-war Futurism movement and Kurt Schwitters and Erwin Schulhoff of the post-war Dadaist movement. The latter movement played an John Cage (right) with David Tudor at Shiraz Arts influential role in the musical development of Erik Satie. Festival 1971 As an early 20th century French composer, Erik Satie used such Dadaist-inspired explorations to create an early form of ambient / background music that he labeled "furniture music" (Musique d'ameublement). This he described as being the sort of music that could be played during a dinner to create a background atmosphere for that activity, rather than serving as the focus of attention.[4] From this greater historical perspective, Satie is the link between these early Art movements and the work of Brian Eno, who as an art school trained musician, had an appreciation of both Ambient music 2 the music and art worlds. Douglas Leedy's Entropical Paradise, released as a three LP set by Seraphim in 1971, consisting of six, side-long, compositions of "environmental music", in which single modular synthesizer settings were allowed to play out without further intervention. Brian Eno is generally credited with coining the term "Ambient Music" in the mid-1970s to refer to music that, as he stated, can be either "actively listened to with attention or as easily ignored, depending on the choice of the listener", and that exists on the "cusp between melody and texture".[4] Eno, who describes himself as a "non-musician", termed his experiments in sound as "treatments" rather than as traditional performances. Eno used the word "ambient" to describe music that creates an atmosphere that puts the listener into a different state of mind; having chosen the word based on the Latin term "ambire", "to surround".[5] The album notes accompanying Eno's 1978 release Ambient 1: Music for Airports include a manifesto describing the philosophy behind his ambient music: "Ambient Music must be able to accommodate many levels of listening attention without enforcing one in particular; it must be as ignorable as it is interesting."[6] Eno has acknowledged the influence of Erik Satie and John Cage. In particular, Eno was aware of Cage's use of chance such as throwing the I Ching to directly affect the creation of a musical composition. Eno then utilised a similar method of weaving randomness into his compositional structures. This approach was manifested in Eno's creation of Oblique Strategies, where he used a set of specially designed cards to create various sound dilemmas that in turn, were resolved by exploring various open ended paths, until a resolution to the musical composition revealed itself. Eno also acknowledged influences of the drone music of La Monte Young (of whom he said, "La Monte Young is the daddy of us all"[7] ) and of the mood music of Miles Davis and Teo Macero, especially their 1974 epic piece, "He Loved Him Madly", about which Eno wrote, "that piece seemed to have the 'spacious' quality that I was after...it became a touchstone to which I returned frequently."[5] Beyond the major influence of Brian Eno, other musicians and bands added to the growing nucleus of music that evolved around the development of "Ambient Music". While not an exhaustive list, one cannot ignore the parallel influences of Wendy Carlos, who produced the original music piece called "Timesteps" which was then used as the filmscore to Clockwork Orange, as well as her later work Sonic Seasonings. Other significant artists such as Mike Oldfield, Jean Michel Jarre and Vangelis have all added to or directly influenced the evolution of ambient music. Adding to these individual artists, works by groups such as Pink Floyd, through their albums Ummagumma, Meddle and Obscured by Clouds. Other groups including Yes with their album Tales from Topographic Oceans, the Hafler Trio, Tangerine Dream, Popol Vuh, Can, and Kraftwerk have all added distinctive aspects to the growing and diversified genre of ambient music. 1990s: Developments By the early 1990s artists such as The Orb, Aphex Twin, Seefeel, the Irresistible Force, Geir Jenssen's Biosphere, and the Higher Intelligence Agency were being referred to by the popular music press as ambient house, ambient techno, IDM or simply "ambient" according to the liner notes of Brian Eno's Ambient 1: Music for Airports: “Ambient Music is intended to induce calm and a space to think.” So-called 'Chillout' began as a term deriving from British ecstasy culture which was originally applied in relaxed downtempo 'chillout rooms' outside of the main dance floor where ambient, dub and downtempo beats were played to ease the tripping mind.[8] [9] The London scene artists, such as Aphex Twin (specifically: Selected Ambient Works Volume II, 1994), Global Communication (76:14, 1994), FSOL The Future Sound of London (Lifeforms, ISDN), The Black Dog (Temple of Transparent Balls, 1993), Autechre (Incunabula, 1993, Amber), Boards of Canada, and The KLF's seminal Chill Ambient music 3 Out, 1990, all took a part in popularising and diversifying ambient music where it was used as a calming respite from the intensity of the hardcore and techno popular at that time.[8] Later in the period much experimental electronica (particularly sound artists such as Pole, Mika Vainio, Ryoji Ikeda, Christian Fennesz, Aphex Twin (drukQs, 2001) and Autechre expanded the themes of 'ambient' along the lines of earlier 1970s ambient music & dub but with increasingly abstracted sample-based textures and digital electronics that ultimately began to converge with minimalist compositions and music concrete. Digital era musicians and sound artists, including Brian Eno [10] are notable in their attempts to create 'sonic sculptures' which interact with the physical architecture of the listening space using advanced electronic installations. Literally 'ambient' field recordings are a specialism of the Touch Music label. Forerunner of this species in Poland is Brunette Models (since 1995). The electroacoustic influence can be heard in the contemporary work of Polish artist Jacaszek (since 2008). Glitch music is a major subset of this work produced by (mainly German) labels such Mille Plateaux (Clicks & Cuts Series, 2000). Some dubstep producers, notably Burial and Kites (Bristol ambient dubstep) have nostalgically referenced the sonic 'post-rave' ambience of the nineties era. Soundtracks Ambient music has been used in many motion pictures, television shows and video games, and is notable for contributing to their atmosphere, or soundscapes. Vangelis wrote the scores for the British film Chariots of Fire, and for Ridley Scott's 1982 film Blade Runner, as well as many other score albums. David Lynch's 1984 film Dune, for example, forgoes the epic sci-fi adventure style theme music popularized by Star Wars in favor of a more atmospheric music score by Toto and Brian Eno. Throughout the 1980s Tangerine Dream composed scores for more than twenty films, most notably the soundtracks for Flashpoint and Heartbreakers, both released in 1984, and Legend, directed by Ridley Scott and released in 1985. Electronic musician Paddy Kingsland is noted for the music style he brought to several serials of the television series Doctor Who which had until then relied mostly on stock music cues or minimal music for much of its history. The video game trilogy Fallout and its spinoffs use ambient music that sometimes contains gentle rumblings to portray the bleakness of the post-apocalyptic world which the games are set in. Relic Entertainment's 1999 game Homeworld uses such music to highlight the vast emptiness of the areas of deep space the Mothership often finds itself in.