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Ambient music is a genre of music that emphasizes tone and atmosphere over traditional musical structure or rhythm. Often "peaceful" sounding and lacking composition, beat, and/or structured melody,<ref name="Mark Prendergast 2003">The Ambient Century by Mark Prendergast, Bloomsbury, London, 2003.</ref> ambient music uses textural layers of sound that can reward both passive and active listening,<ref>Elevator Music: A Surreal History of Muzak, Easy Listening & Other Moodsong by Joseph Lanza, Quartet, London, 1995.</ref> and encourage a sense of calm or contemplation.<ref>Crossfade: A Big Chill Anthology, Serpents Tail, London, 2004.</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The genre evokes an "atmospheric", "visual",<ref name="Prendergast, M. 2001">Prendergast, M. The Ambient Century. 2001. Bloomsbury, USA</ref> or "unobtrusive" quality.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Nature soundscapes may be included, and some works use sustained or repeated notes, as in drone music. Bearing elements with new-age music, instruments such as the piano, strings and flute may be emulated through a synthesizer.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>George Grove, Stanley Sadie, The New Grove Dictionary of Music and Musicians, Macmillan Publishers, 1st ed., 1980 (Template:ISBN), vol. 7 (Fuchs to Gyuzelev), "André-Ernest-Modeste Grétry", p. 708: "in L'épreuve villageoise, where the various folk elements – couplet form, simplicity of style, straightforward rhythm, drone bass in imitation of bagpipes – combine to express at once ingenuous coquetry and sincerity."</ref>
The genre originated in the 1960s and 1970s, when new musical instruments were being introduced to a wider market, such as the synthesizer.<ref name="elevator185-1">Template:Cite book</ref> It was presaged by Erik Satie's furniture music and styles such as musique concrète, minimal music, Jamaican dub reggae and German electronic music, but was prominently named and popularized by British musician Brian Eno in 1978 with his album Ambient 1: Music for Airports; Eno opined that ambient music "must be as ignorable as it is interesting", however, in early years, there were artists that were pioneers in this genre, like Jean-Michel Jarre, Vangelis, Mike Oldfield, Wendy Carlos, Kraftwerk, etc.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> It saw a revival towards the late 1980s with the prominence of house and techno music, growing a cult following by the 1990s.<ref name="allmusic.com">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
Ambient music did not achieve large commercial success, being criticized as everything from "dolled-up new age, ... to boring and irrelevant technical noodling".<ref name="ReferenceA">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Nevertheless, it has attained a certain degree of acclaim throughout the years, especially in the Internet age. Due to its relatively open style, ambient music often takes influences from many other genres, ranging from classical, avant-garde music, experimental music, folk, jazz, and world music, amongst others.<ref>New Sounds: The Virgin Guide To New Music by John Schaefer, Virgin Books, London, 1987.</ref><ref>"Each spoke, tracing a thin pie-shape out of the whole, would contribute to the modern or New Ambient movement: new age, neo-classical, space, electronic, ambient, progressive, jazzy, tribal, world, folk, ensemble, acoustic, meditative, and back to new age... "New Age Music Made Simple Template:Webarchive</ref>
HistoryEdit
EtymologyEdit
The English word ambient is derived from Latin ambientem (nominative ambiens) which means "surrounding, encircling, to go around, go about", which in turn comes from amb- "around" (which ultimately derives from PIE root *ambhi- "around").<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
OriginsEdit
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.<ref name="Jarrett">Template:Cite book</ref>
In his own words, Satie sought to create "a music...which will be part 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 those heavy silences that sometime fall between friends dining together. It would spare them the trouble of paying attention to their own banal remarks. And at the same time it would neutralize the street noises which so indiscreetly enter into the play of conversation. To make such music would be to respond to a need."<ref name=":0">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
In 1948, French composer & engineer, Pierre Schaeffer coined the term musique concrète. This experimental style of music used recordings of natural sounds that were then modified, manipulated or effected to create a composition.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Shaeffer's techniques of using tape loops and splicing are considered to be the precursor to modern day sampling.
In 1952, John Cage released his famous three-movement composition<ref>Kostelanetz 2003, 69–71, 86, 105, 198, 218, 231.</ref> 4'33 which is a performance of complete silence for four minutes and thirty-three seconds. The piece is intended to capture the ambient sounds of the venue/location of the performance and have that be the music played.<ref name="npr">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Cage has been cited by seminal artists such as Brian Eno as influence.<ref name="npr" />
1960sEdit
In the 1960s, many music groups experimented with unusual methods, with some of them creating what would later be called ambient music.
In the summer of 1962, composers Ramon Sender and Morton Subotnick founded The San Francisco Tape Music Center which functioned both as an electronic music studio and concert venue.<ref>Template:Cite book</ref> 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 development of minimal music (also called minimalism), which shares many similar concepts to ambient music such as repetitive patterns or pulses, steady drones, and consonant harmony.<ref>Template:Cite journal</ref>
Many records were released in Europe and the United States of America between the mid-1960s and the mid-1990s that established the conventions of the ambient genre in the anglophone popular music market.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Some 1960s records with ambient 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 record of the environments album series by Irv Teibel.
In the late 1960s, French composer Éliane Radigue composed several pieces by processing tape loops from the feedback between two tape recorders and a microphone.<ref>Template:Cite book</ref> In the 1970s, she then went on to compose similar music almost exclusively with an ARP 2500 synthesiser, and her long, slow compositions have often been compared to drone music.<ref>Template:Cite book</ref><ref>Template:Citation</ref> In 1969, the group COUM Transmissions were performing sonic experiments in British art schools.<ref>Eliot Bates, "Ambient Music", MA thesis (Middletown, Connecticut: Wesleyan University, 1997, pg.19)</ref> Pearls Before Swine's 1968 album Balaklava features the sounds of birdsong and ocean noise, which were to become tropes of ambient music."<ref name="Wire">Template:Cite magazine</ref>
1970sEdit
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 work The Expanding Universe, created on a computer-analog hybrid system called GROOVE.<ref>Template:Cite magazine</ref> In 1977, her composition, Music of the Spheres was included on Voyager 1 and 2's Golden Record.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
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.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> These performances were released on an archival album in 2016 entitled Buchla Concerts 1975. According to the record label, these concerts were part live presentation, part grant application and part educational demonstration.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
However, it was not 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 mind, suggesting that it be listened to at "comparatively low levels, even to the extent that it frequently falls below the threshold of audibility",<ref name=":0" /> referring to Satie's quote about his musique d'ameublement.<ref>Template:Cite book</ref>
Other contemporaneous musicians creating ambient-style music at the time included Jamaican dub musicians such as King Tubby,<ref name="eem">Template:Cite book</ref> Japanese electronic music composers such as Isao Tomita<ref name="weekender">Q&A with Isao Tomita Template:Webarchive, Tokyo Weekender</ref><ref name="vice">Isao Tomita, an Early Major Japanese Electronic Composer, Is Dead, Vice</ref> and Ryuichi Sakamoto as well as the psychoacoustic soundscapes of Irv Teibel's Environments series, and German experimental bands such as Popol Vuh, Cluster, Kraftwerk, Harmonia, Ash Ra Tempel and Tangerine Dream. Mike Orme of Stylus Magazine describes the work of Berlin school musicians as "laying the groundwork" for ambient.<ref name="Orme">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
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 beyond nations and colors...with electronics everything is possible. The only limit is with the composer".<ref name=":1">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The Yellow Magic Orchestra developed a distinct style of ambient electronic music that would later be developed into ambient house music.<ref>{{#ifeq: | yes | https://www.allmusic.com/artist/p5886{{
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Brian EnoEdit
The English producer Brian Eno is credited with coining the term "ambient music" in the mid-1970s. He said other artists had been creating similar music, but that "I just gave it a name. Which is exactly what it needed ... By naming something you create a difference. You say that this is now real. Names are very important."<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> He used the term to describe music that is different from forms of canned music like Muzak.<ref name=enotvf>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
In the liner notes for his 1978 album Ambient 1: Music for Airports, Eno wrote:<ref name=":2" />
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Whereas the extant canned music companies proceed from the basis of regularizing environments by blanketing their acoustic and atmospheric idiosyncrasies, Ambient Music is intended to enhance these. Whereas conventional background music is produced by stripping away all sense of doubt and uncertainty (and thus all genuine interest) from the music, Ambient Music retains these qualities. And whereas their intention is to "brighten" the environment by adding stimulus to it (thus supposedly alleviating the tedium of routine tasks and leveling out the natural ups and downs of the body rhythms) Ambient Music is intended to induce calm and a space to think. 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.{{#if:|{{#if:|}}
— {{#if:|, in }}Template:Comma separated entries}}
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Eno, who describes himself as a "non-musician", termed his experiments "treatments" rather than traditional performances.<ref name=":2">Brian Eno, [ Music for Airports liner notes], September 1978</ref><ref name="potter2002">Template:Cite book (Quoting Brian Eno saying "La Monte Young is the daddy of us all" with endnote 113 p. [ 349] referencing it as "Quoted in Palmer, A Father Figure for the Avant-Garde, p. 49".)</ref> David Bowie created the Berlin Trilogy with Eno, both of whom were inspired during the production of the albums in the trilogy by German kosmische Musik bands and minimalist composers.<ref>Template:Cite magazine</ref>
1980sEdit
In the late 70s, new-age musician Laraaji began busking in New York parks and sidewalks, including Washington Square 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 album in Eno's Ambient series. Although Laraaji had already recorded a number of albums, this one gave him international recognition.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Unlike other albums in the series, Day of Radiance featured mostly acoustic instruments instead of electronics.
In the mid-1980s, the possibilities to create a sonic landscape increased through the use of sampling. By the late 1980s, there was a steep increase in the incorporation of the computer in the writing and recording process of records. The sixteen-bit Macintosh platform with built-in sound and comparable IBM models would find themselves in studios and homes of musicians and record makers.<ref>Template:Cite journal</ref> However, many artists were still working with analogue synthesizers and acoustic 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 diverse instrumentation including percussion, marimba, gong, reed organ, bells, ocarina, vibraphone, piano and glass Coca-Cola bottles.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Between 1988 and 1993, Éliane Radigue produced three hour-long works on the ARP 2500 which were subsequently issued together as La Trilogie De La Mort.<ref>Template:Cite journal</ref>
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 album inside a huge underground cistern in Washington which has a 45-second reverberation time. The concept of Deep Listening then went on to become "an aesthetic based upon principles of improvisation, electronic music, ritual, teaching and meditation".<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
1990sEdit
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 house, ambient techno, IDM or simply "ambient". The term chillout emerged 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.<ref name="altered">Altered State: The Story of Ecstasy Culture and Acid House, Matthew Collin, 1997, Serpent's Tail Template:ISBN</ref><ref>Template:Cite encyclopedia</ref>
British artists such as Aphex Twin (specifically: Selected Ambient Works Volume II, 1994), Global Communication (76:14, 1994), The Future Sound of London (Lifeforms, 1994, ISDN, 1994), the Black Dog (Temple of Transparent Balls, 1993), Autechre (Incunabula, 1993, Amber, 1994), Boards of Canada, and The KLF's Chill 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.<ref name="altered" /> 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 sound tool".<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
2000sEdit
In the early 2000s, offshoots of trance music oriented around ambient music garnered popularity. Established in France in 2001, Ultimae has become the go-to label for space ambient, and they included artists such as Carbon Based Lifeforms. DJs in Ibiza's Café Del Mar began creating ambient house mixes that drew on jazz, classical, Hispanic, and New Age sources. Consequently, the popular understanding of "chill-out music" shifted away from "ambient" and into its own distinct genre.<ref name="dmm">Template:Cite book</ref> Producer Wolfgang Voigt co-runs the German label Kompakt, which has released installments of the influential ambient techno compilation series Pop Ambient annually since 2001.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
In indie music, chillwave emerged, inspired by the atmosphere of dream pop.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Atlas Sound debuted with the album Let the Blind Lead Those Who Can See but Cannot Feel, which featured ambient pieces.<ref name="p4k19">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Animal Collective's Merriweather Post Pavilion was an album released in January 2009 that was particularly influential for its ambient sounds and repetitive melodies.<ref name="Eady2014">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
2010s–presentEdit
YouTubeEdit
From the early 2010s to present, ambient music gained widespread recognition on YouTube, with uploaded pieces, usually ranging from one to eight hours long, getting over millions of hits. Ambient videos assist online listeners with yoga, study, sleep (see music and sleep), massage, meditation and gaining optimism, inspiration, and creating peaceful atmosphere in their rooms or other environments. Such videos may be titled "relaxing music".<ref>Template:Cite journal</ref>
Many uploaded ambient videos may also be influenced by biomusic where they feature sounds of nature, though the sounds would be modified with reverbs and delay units to make spacey versions of the sounds as part of the ambience. Such natural sounds oftentimes include those of a beach, rainforest, thunderstorm and rainfall, among others, with vocalizations of animals such as bird songs being used as well. Pieces containing binaural beats are common and popular uploads as well, which provide music therapy and stress management for the listener.<ref>How Music Works by David Byrne, McSweeney's, 2012.</ref><ref name="nyt_ambience">Template:Cite newsTemplate:Cbignore</ref>Template:Efn
Digital releasesEdit
iTunes and Spotify have digital radio stations that feature ambient music, which are mostly produced by independent labels.<ref name="Mark Prendergast 2003"/>
Acclaimed ambient music of this era (according to Pitchfork magazine) include works by Max Richter, Julianna Barwick, Grouper, William Basinski, Oneohtrix Point Never, and the Caretaker.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> In 2011, American composer Liz Harris recording as Grouper released the album AIA: Alien Observer, listed by Pitchfork at number 21 on their "50 Best Ambient Albums of All Time".<ref name="pitchfork.com">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> In 2011, Julianna Barwick released her first full-length album The Magic Place. Heavily influenced by her childhood experiences in a church choir, Barwick loops her wordless vocals into ethereal soundscapes.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> It was listed at number 30 on Pitchfork's 50 Best Ambient Albums of All Time.<ref name="pitchfork.com"/> After several self-released albums, Buchla composer, producer and performer Kaitlyn Aurelia Smith was signed to independent record label Western Vinyl in 2015.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
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.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Kaitlyn has also collaborated with other well-known Buchla performer, Suzanne Ciani.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Long Ambients 1: Calm. Sleep. was released by American electronica musician Moby in 2016, as a free download.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="info">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> In March 2019, Moby released a follow-up ambient album, Long Ambients 2. Iggy Pop's 2019 album Free features ambient soundscapes.<ref name="rs">Template:Cite news</ref> Mallsoft, a subgenre of vaporwave, features various ambient influences, with artists such as Cat System Corp. and Groceries exploring ambient sounds typical of malls and grocery stores.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
Related and derivative genresEdit
Ambient houseEdit
{{#invoke:Labelled list hatnote|labelledList|Main article|Main articles|Main page|Main pages}} Ambient house is a musical category founded in the late 1980s that is used to describe acid house featuring ambient music elements and atmospheres.<ref name="amg-genre">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Tracks in the ambient house genre typically feature four-on-the-floor beats, synth pads, and vocal samples integrated in an atmospheric style.<ref name="amg-genre"/>
Ambient house tracks generally lack a diatonic center and feature much atonality along with synthesized chords. The Dutch Brainvoyager is an example of this genre. Illbient is another form of ambient house music.
Ambient industrialEdit
Ambient industrial is a hybrid genre of industrial and ambient music.<ref name=musichyperreal>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> A "typical" ambient industrial work (if there is such a thing) might consist of evolving dissonant harmonies of metallic drones and resonances, extreme low frequency rumbles and machine noises, perhaps supplemented by gongs, percussive rhythms, bullroarers, distorted voices or anything else the artist might care to sample (often processed to the point where the original sample is no longer recognizable).<ref name=musichyperreal/>
Entire works may be based on radio telescope recordings, the babbling of newborn babies, or sounds recorded through contact microphones on telegraph wires.<ref name=musichyperreal/>
Ambient popEdit
Ambient pop is a leftfield indie style that developed in the 1980s and 1990s contemporaneously with post-rock in the first wave, deriving from indie pop. It incorporates structures that are common to indie music, but extensively explores "electronic textures and atmospheres that mirror the hypnotic, meditative qualities of ambient music", which is also central to indie electronic music.<ref name="allmusic-ambientpop">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Ambient pop utilizes the musical experimentation of psychedelia and the repetitive traits of minimalism, krautrock and techno as prevalent influences. It is distinguished by its adoption of "contemporary electronic idioms, including sampling, although for the most part live instruments continue to define the sound"; examples of bands in the style include Stereolab, Laika and Broadcast.<ref name="allmusic-ambientpop"/>
Dream pop band Slowdive's 1995 album Pygmalion was a major departure from the band's usual sound, heavily incorporating elements of ambient electronica and psychedelia with hypnotic, repetitive rhythms,<ref name=AllMusic>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> influencing many ambient pop bands and subsequently being regarded as a landmark album in the genre;<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Pitchfork critic Nitsuh Abebe described the album's songs as "ambient pop dreams that have more in common with [first wave] post-rock [bands] like Disco Inferno than shoegazers like Ride".<ref name="Pitchfork">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The genre continued to stylistically progress in the 2000s, often in conjunction with indietronica.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
Ambient technoEdit
{{#invoke:Labelled list hatnote|labelledList|Main article|Main articles|Main page|Main pages}} Ambient techno is a music category emerging in the late 1980s that is used to describe ambient music atmospheres with the rhythmic and melodic elements of techno.<ref name="ambtec">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Notable artists include Aphex Twin, B12, Autechre, and the Black Dog.
Dark ambientEdit
{{#invoke:Labelled list hatnote|labelledList|Main article|Main articles|Main page|Main pages}} Template:See also Brian Eno's original vision of ambient music as unobtrusive musical wallpaper, later fused with warm house rhythms and given playful qualities by the Orb in the 1990s, found its opposite in the style known as dark ambient. Populated by a wide assortment of personalities—ranging from older industrial and metal experimentalists (Scorn's Mick Harris, Current 93's David Tibet, Nurse with Wound's Steven Stapleton) to electronic boffins (Kim Cascone/PGR, Psychick Warriors Ov Gaia), Japanese noise artists (K.K. Null, Merzbow), and latter-day indie rockers (Main, Bark Psychosis).
Dark 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 way to electronic/dance music of the '90s, it's a very nebulous term; many artists enter or leave the style with each successive release.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Related styles include ambient industrial (see below) and isolationist ambient.
Drone musicEdit
{{#invoke:Labelled list hatnote|labelledList|Main article|Main articles|Main page|Main pages}} Drone music is a minimalist<ref name="coxwarner.301"/> genre of music that emphasizes the use of sustained sounds,<ref>Template:Cite encyclopedia</ref> notes, or tone clusters called drones. It is typically characterized by lengthy compositions featuring relatively slight harmonic variations. La Monte Young, one of its 1960s originators, defined it in 2000 as "the sustained tone branch of minimalism."<ref name=young2000>Young 2000, p. 27</ref> Elements of drone music have been incorporated in diverse genres such as rock, ambient, and electronic music.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>"Drone-based music" is used for instance in 1995 (Paul Griffiths, Modern music and after: Directions Since 1945, Oxford University Press, 1995, Template:ISBN, p. 209: "Young founded his own performing group, the Theatre of Eternal Music, to give performances of highly repetitive, drone-based music"), or in Cow & Warner 2004 (cf. cited quote of p. 301).</ref><ref name="coxwarner.301">Cox & Warner 2004, p. 301 (in "Thankless Attempts at a Definition of Minimalism" by Kyle Gann): "Certainly many of the most famous minimalist pieces relied on a motoric 8th-note beat, although there were also several composers like Young and Niblock interested in drones with no beat at all. [...] Perhaps “steady-beat-minimalism” is a criterion that could divide the minimalist repertoire into two mutually exclusive bodies of music, pulse-based music versus drone-based music."</ref>
New-age musicEdit
{{#invoke:Labelled list hatnote|labelledList|Main article|Main articles|Main page|Main pages}} Ambient music fused with new-age music styles has an explicit purpose of aiding meditation and relaxation, or aiding and enabling various alternative spiritual practices, such as alternative healing, yoga practice, guided meditation, or chakra auditing.<ref>Template:Citation</ref><ref>Template:Citation</ref> The proponents of new age-ambient music are almost always musicians who create their music expressly for these purposes.<ref name="NAV">Steven Halpern, New Age Voice Magazine, June 1999 issue</ref> To be useful for meditation, the music must have repetitive dynamic and texture without sudden loud chords or improvisation, which could disturb the meditator. It is minimalist in conception, and musicians in the genre are mostly instrumentalists rather than vocalists.<ref>Template:Citation</ref>
Subliminal messages are also used in new-age music, and the use of instruments along with sounds of animals (like whales, wolves and eagles) and nature (waterfalls, ocean waves, rain) is also popular. Flautist Dean Evenson was one of the first musicians to combine peaceful music with the sounds of nature, launching a genre that became popular for massage and yoga.<ref>Template:Citation</ref>
Space musicEdit
{{#invoke:Labelled list hatnote|labelledList|Main article|Main articles|Main page|Main pages}} {{#invoke:Listen|main}} Space 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.<ref name="ref1">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="ref4">"Any music with a generally slow, relaxing pace and space-creating imagery or atmospherics may be considered Space Music, without conventional rhythmic elements, while drawing from any number of traditional, ethnic, or modern styles." Lloyde Barde, July/August 2004, Template:Usurped</ref><ref name= "ref46">"When you listen to space and ambient music you are connecting with a tradition of contemplative sound experience whose roots are ancient and diverse. The genre spans historical, ethnic, and contemporary styles. In fact, almost any music with a slow pace and space-creating sound images could be called spacemusic." Stephen Hill, co-founder, Hearts of Space, What is spacemusic? Template:Webarchive</ref>
Space music ranges from simple to complex sonic textures sometimes lacking conventional melodic, rhythmic, or vocal components,<ref name="ref43">"A timeless experience...as ancient as the echoes of a simple bamboo flute or as contemporary as the latest ambient electronica. Any music with a generally slow pace and space-creating sound image can be called spacemusic. Generally quiet, consonant, ethereal, often without conventional rhythmic and dynamic contrasts, spacemusic is found within many historical, ethnic, and contemporary genres."Stephen Hill, co-founder, Hearts of Space, sidebar "What is Spacemusic?" in essay Contemplative Music, Broadly Defined Template:Webarchive</ref><ref name="ref5">"The early innovators in electronic "space music" were mostly located around Berlin. The term has come to refer to music in the style of the early and mid-1970s works of Klaus Schulze, Tangerine Dream, Ash Ra Tempel, Popol Vuh and others in that scene. The music is characterized by long compositions, looping sequencer patterns, and improvised lead melody lines." – John Dilaberto, Berlin School, Echoes Radio on-line music glossary Template:Webarchive</ref> generally evoking a sense of "continuum of spatial imagery and emotion",<ref name="ref47">"This music is experienced primarily as a continuum of spatial imagery and emotion, rather than as thematic musical relationships, compositional ideas, or performance values." Essay by Stephen Hill, co-founder, Hearts of Space, New Age Music Made Simple Template:Webarchive</ref> beneficial introspection, deep listening<ref name="ref49">"Innerspace, Meditative, and Transcendental... This music promotes a psychological movement inward." Stephen Hill, co-founder, Hearts of Space, essay titled New Age Music Made Simple Template:Webarchive</ref> and sensations of floating, cruising or flying.<ref name="ref7">"...Spacemusic ... conjures up either outer "space" or "inner space" " – Lloyd Barde, founder of Backroads Music Notes on Ambient Music, Hyperreal Music Archive Template:Webarchive</ref><ref name="ref42">"Space And Travel Music: Celestial, Cosmic, and Terrestrial... This New Age sub-category has the effect of outward psychological expansion. Celestial or cosmic music removes listeners from their ordinary acoustical surroundings by creating stereo sound images of vast, virtually dimensionless spatial environments. In a word — spacey. Rhythmic or tonal movements animate the experience of flying, floating, cruising, gliding, or hovering within the auditory space."Stephen Hill, co-founder, Hearts of Space, in an essay titled New Age Music Made Simple Template:Webarchive</ref>
Space music is used by individuals for both background enhancement and foreground listening, often with headphones, to stimulate relaxation, contemplation, inspiration and generally peaceful expansive moods<ref>" Restorative powers are often claimed for it, and at its best it can create an effective environment to balance some of the stress, noise, and complexity of everyday life." – Stephen Hill, Founder, Music from the Hearts of Space What is Spacemusic? Template:Webarchive</ref> and soundscapes. Space music is also a component of many film soundtracks and is commonly used in planetariums, as a relaxation aid and for meditation.<ref>"This was the soundtrack for countless planetarium shows, on massage tables, and as soundtracks to many videos and movies."- Lloyd Barde Notes on Ambient Music, Hyperreal Music Archive Template:Webarchive</ref>
SleepEdit
{{#invoke:Labelled list hatnote|labelledList|Main article|Main articles|Main page|Main pages}} Ambient has been selected by participants from online sleep surveys to aid sleep.<ref>Template:Cite journal</ref> The ambient music genre, among other genres, was used in a study pertaining to insomnia in adults, where it facilitated a large improvement in sleep quality for insomnia patients.<ref name=":22">Template:Cite journal</ref> Participants, who were between 20 and 45 years old, listened to Max Richter's album Sleep, which was originally meant to work as a sleep aid. They used headphones and were able to shut their eyes, but they were informed to stay in a sitting position so they do not fall asleep. Though one participant fell asleep whilst listening to the music.<ref>Template:Cite journal</ref>
Film soundtracksEdit
Examples of films with soundtracks that feature some, or extensive, usage of ambient music include, Forbidden Planet (1956), Solaris (1972),<ref name=screen/> Blade Runner (1982),<ref name=screen/> Dune (1984),<ref name=screen>10 Best Ambient Movie Soundtracks by Lucy-Jo Finnighan from ScreenRant. October 31, 2021. Retrieved 31 March 2024.</ref> Heathers (1988),<ref name=screen/> Akira (1988),<ref name=screen/> Titanic (1997),<ref>‘Titanic’ Soundtrack Making Its Own Waves Steve Morse, The Boston Globe. 20 February 1998. Retrieved 31 March 2024.</ref> Traffic (2000), Donnie Darko (2001), Solaris (2002), The Passion of the Christ (2004),<ref>The Passion of the Christ James Southall from The Movie Wave. 29 March 2004. Retrieved 31 March 2024.</ref> Pride & Prejudice (2005),<ref name=screen/> The Social Network (2010),<ref name=screen/> Her (2013), Enemy (2013), Drive (2011),<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Interstellar (2014), Gone Girl (2014),<ref name=screen/> The Revenant (2015), Columbus (2017), Mandy (2018),<ref>Review: The Mandy Experience at Revue Cinema Canculture. November 1, 2018. Retrieved 31 March 2024.</ref> Annihilation (2018), Ad Astra (2019), Chernobyl (2019)<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> and Dune (2021),<ref>Masterfully MASSIVE: Hans Zimmer’s Multi-Dimensional Score for ‘Dune 2' Sound of Life. 11 March 2024. Retrieved 31 March 2024.</ref> among many others.
Notable ambient-music showsEdit
- Sirius XM Chill plays ambient, chillout and downtempo electronica.
- Sirius XM Spa blends ambient and new age instrumental music on channel XM 68.
- Echoes, a daily two-hour music radio program 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 US.
- BBC Radio 1 Relax was a radio station offered by the British Broadcasting Corporation (BBC) that broadcast ambient music. The channel featured a variety of ambient genres, including electronic and instrumental compositions.
- Hearts of Space, a program hosted by Stephen Hill and broadcast on NPR in the US since 1973.<ref name="ref48">"The program has defined its own niche — a mix of ambient, electronic, world, new-age, classical and experimental music....Slow-paced, space-creating music from many cultures — ancient bell meditations, classical adagios, creative space jazz, and the latest electronic and acoustic ambient music are woven into a seamless sequence unified by sound, emotion, and spatial imagery." Stephen Hill, co-founder, Hearts of Space, essay titled Contemplative Music, Broadly Defined Template:Webarchive</ref><ref name="ref36b">"Hill's Hearts of Space Web site provides streaming access to an archive of hundreds of hours of spacemusic artfully blended into one-hour programs combining ambient, electronic, world, new-age and classical music." Steve Sande, The Sky's the Limit with Ambient Music, SF Chronicle, Sunday, January 11, 2004 Template:Webarchive</ref>
- Musical Starstreams, a US-based commercial radio station and Internet program produced, programmed and hosted by Forest since 1981.
- Star's End, a radio show on 88.5 WXPN, in Philadelphia, Pennsylvania. Founded in 1976, it is the second longest-running ambient music radio show in the world.<ref>"Star's End" is (with the exception of "Music from the Hearts of Space") the longest running radio program of ambient music in the world. Since 1976, Star's End has been providing the Philadelphia broadcast area with music to sleep and dream to." "Star's End" website background information page Template:Webarchive</ref>
- Ultima Thule Ambient Music, a weekly 90-minute show broadcast since 1989 on community radio across Australia.
- Avaruusromua, the name meaning "space debris", is a 60-minute ambient and avant-garde radio program broadcast since 1990 on Finnish public broadcaster YLE's various stations.<ref>{{#invoke:citation/CS1|citation
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See alsoEdit
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NotesEdit
ReferencesEdit
External linksEdit
- Ambient Techno in Sound on Sound
- Ambient Music Guide – Comprehensive ambient music resource site Template:Webarchive
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