|Cultural origins||1960s and 1970s, United Kingdom, Jamaica, Japan|
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Ambient music is a genre of music that puts an emphasis on tone and atmosphere over traditional musical structure or rhythm. A form of slow instrumental music, it uses repetitive, but gentle, soothing sound patterns that can be described as sonic wallpaper to complement or alter one’s space and to generate a sense of calmness. Intended to relax, the genre is said to evoke an "atmospheric", "visual", or "unobtrusive" quality.
Ambient music focuses on creating a mood or atmosphere through synthesizers and timbral qualities, often lacking the presence of any net composition, beat, or structured melody. It uses textural layers of sound without prevalent musical tropes, rewarding both passive and active listening. Nature soundscapes are usually included, and the sounds of acoustic instruments such as the piano, strings and flute, among others, may be emulated through a synthesizer. According to Brian Eno, one of its pioneers, "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."
As a genre, it originated in the United Kingdom in the 1970s, when new sound-making devices were being introduced to a wider market, such as the synthesizer. Brian Eno named and popularized ambient music in 1978 with his album Ambient 1: Music for Airports, with the genre gaining popularity in that era. It saw a revival towards the late 1980s with the prominence of house and techno music, growing a cult following by the 1990s. Ambient music may have elements of new-age music due to usage of (synthesized) instruments, and drone music, as some works may use sustained or repeated notes.
Ambient did not achieve large commercial success, being criticized as having a "boring" and "over-intellectual" sound. 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, folk, jazz, and world music, among several others.
- 1 Background
- 2 History
- 3 Related and derivative genres
- 4 Notable ambient-music shows on radio and via satellite
- 5 See also
- 6 References
- 7 External links
Brian Eno said in a 2013 interview with The Guardian that "One of the important things about the synthesizer was that it came without any baggage. A piano comes with a whole history of music...when you play an instrument that does not have any such historical background you are designing sound basically. You're designing a new instrument. That's what a synthesizer is essentially. It's a constantly unfinished instrument. You finish it when you tweak it, and play around with it, and decide how to use it. You can combine a number of cultural references into one new thing."
Eno has been outspoken about the role of the recording studio in ambient music, notably in the freedom it gives in crafting textures of sound. He notes "When I first started recording I didn't have the background of a musician, and in fact it was only because of the recording studio and because of the technology that existed there that I was ever able to become a musician of any kind...the recording studio allows you to become a painter with sound, that's really what you do in a studio, you make pictures with sound..."
While muzak can be seen akin to ambient music in that they are both meant to be heard in the background, Eno describes some notable differences between them: "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...Ambient Music is intended to produce calm and a space to think."
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.
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."
Developing in the 1970s, ambient stemmed from the experimental and synthesizer-oriented styles of the period. Although Jamaican dub musicians such as King Tubby, Japanese electronic music composers such as Isao Tomita, Tangerine Dream, Ash Ra Tempel, Cluster, as well as the psychoacoustic soundscapes of Irv Teibel's Environments series, and German bands such as Popol Vuh and Tangerine Dream, predate him in the creation of ambient music and/or were contemporaneous with him, Brian Eno played a key role in its development and popularization.
The concept of background or furniture music had already existed some time before, but only in the 70s was ambient music first created, which incorporated New Age ideals with the newly invented modular synthesizer. 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", referring to Satie's quote about his musique d'ameublement.
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". 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". The Yellow Magic Orchestra developed a distinct style of ambient electronic music that would later be developed into ambient house music.
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". "Ambient" is based on the Latin term "ambire", "to surround". Eno, who describes himself as a "non-musician", termed his experiments in sound as "treatments" rather than as traditional performances.) and of the mood music of Miles Davis and Teo Macero, especially their 1974 epic piece, "He Loved Him Madly" (from Get Up with It), 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."
By the early 1990s, artists such as The Orb, Aphex Twin, Seefeel, the Irresistible Force, Geir Jenssen's 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". Ambient compositions are often quite lengthy, much longer than more popular, commercial forms of music. 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.
The London scene 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 seminal 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.
By the late 2000s and 2010s, ambient music gained the most popularity and widespread recognition through internet, namely on YouTube, with uploaded pieces, usually ranging from 1 to 8 hours long, getting over millions of hits. Such videos are usually titled, or are generally known as, "relaxing music", and may be influenced by other music genres. Ambient videos assist online listeners with yoga, study, sleep, massage, meditation and gaining optimism, inspiration, and creating peaceful atmosphere in their rooms or other environments.
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Many uploaded ambient videos tend to 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.
Verified YouTube channels, such as aptly titled Ambient has over 200,000 subscribers. Other verified channels that also publish ambient music include, Meditation Relax Music, which has over 1 million subscribers, Soothing Relaxation with 800,000 subscribers, and Relaxing White Noise with over 500,000 subscribers, among others. iTunes and Spotify have digital radio stations that feature ambient music, which are mostly produced by independent labels.
Related and derivative genres
Ambient dub involves the genre melding of dub styles. It was pioneered 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. It often features layering techniques and incorporates elements of world music, deep bass lines and harmonic sounds. According to David Toop, "Dub music is like a long echo delay, looping through time...turning the rational order of musical sequences into an ocean of sensation." Notable artists within the genre include Dreadzone, Higher Intelligence Agency, The Orb, Ott, Loop Guru, Woob and Transglobal Underground as well as Banco de Gaia.
Ambient house is a musical category founded in the late 1980s that is used to describe acid house featuring ambient music elements and atmospheres. Tracks in the ambient house genre typically feature four-on-the-floor beats, synth pads, and vocal samples integrated in an atmospheric style. 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 industrial is a hybrid genre of industrial and ambient music; the term industrial being used in the original experimental sense, rather than in the sense of industrial metal. 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). Entire works may be based on radio telescope recordings, the babbling of newborn babies, or sounds recorded through contact microphones on telegraph wires.
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 ambient. It is influenced by the lock-groove melodies of krautrock, but is less abrasive.
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. Related styles include ambient industrial (see below) and isolationist ambient.
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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.
Space music ranges from simple to complex sonic textures sometimes lacking conventional melodic, rhythmic, or vocal components, generally evoking a sense of "continuum of spatial imagery and emotion", beneficial introspection, deep listening and sensations of floating, cruising or flying.
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 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.
Notable ambient-music shows on radio and via satellite
- Sirius XM Chill plays ambient, chill out and downtempo electronica.
- Echoes, is 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 USA.
- Hearts of Space, a program hosted by Stephen Hill and broadcast on NPR in the US since 1973.
- 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.
- 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.
- Drone is now classified as a subgenre of ambient music, but early drone music influenced the origin of ambient. See the other note from Cambridge History of Twentieth-Century Music (Cook & Pople 2004, p. 502), and the note from Four Musical Minimalists (Potter 2002, p. 91).
- Holmes, Thom (2008). Electronic and Experimental Music: Technology, Music, and Culture. Routledge. p. 403. ISBN 0203929594. Retrieved 1 April 2013.
- Q&A with Isao Tomita Archived 2017-04-24 at the Wayback Machine., Tokyo Weekender
- Isao Tomita, an Early Major Japanese Electronic Composer, Is Dead Archived 2017-04-24 at the Wayback Machine., Vice
- Crossfade: A Big Chill Anthology, Serpents Tail, London, 2004.
- "Ambient music - Definition of ambient by Dictionary.com". Dictionary.com. Archived from the original on 2018-02-12.
- Prendergast, M. The Ambient Century. 2001. Bloomsbury, USA
- "Ambient - Definition of ambient by Merriam-Webster". merriam-webster.com. Archived from the original on 2015-04-20.
- The Ambient Century by Mark Prendergast, Bloomsbury, London, 2003.
- Elevator Music: A Surreal History of Muzak, Easy Listening & Other Moodsong by Joseph Lanza, Quartet, London, 1995.
- "Ambient - Definition of ambient by Cambridge Dictionary". dictionary.cambridge.org. Archived from the original on 2018-02-12.
- Eno, Brian. "Music for Airports". Archived from the original on 29 January 2013. Retrieved 8 July 2013.
- Lanza, Joseph (2004). Elevator Music: A Surreal History of Muzak, Easy-listening, and Other Moodsong. University of Michigan Press. p. 185. ISBN 0-472-08942-0.
- "Music Genres - AllMusic". AllMusic. Archived from the original on 2012-02-13.
- George Grove, Stanley Sadie, The New Grove Dictionary of Music and Musicians, Macmillan Publishers, 1st ed., 1980 (ISBN 0-333-23111-2), 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."
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- New Sounds: The Virgin Guide To New Music by John Schaefer, Virgin Books, London, 1987.
- "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 Archived 2010-04-05 at the Wayback Machine.
- "AmbientMusicGuide.com - A history of ambient". www.ambientmusicguide.com. Archived from the original on 2016-03-13. Retrieved 2016-04-05.
- "/seconds". slashseconds.org. Archived from the original on 2016-03-04. Retrieved 2016-04-05.
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- "Epsilon: Ambient Music, Beginnings and Implications, by Chris Melchior". music.hyperreal.org. Archived from the original on 2016-03-05. Retrieved 2016-04-05.
- Tamm, Eric (1995). Brian Eno: His Music and the Vertical Color of Sound. De Capo Press. ISBN 0-306-80649-5.
- Yellow Magic Orchestra at AllMusic. Retrieved 2011-05-25.
- Brian Eno, [ Music for Airports liner notes], September 1978
- Potter, Keith (2002). Four Musical Minimalists: La Monte Young, Terry Riley, Steve Reich, Philip Glass (rev. pbk from 2000 hbk ed.). Cambridge University Press. pp. [ 91]. ISBN 978-0-521-01501-1. (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".)
- Tingen, Paul (2001). Miles Beyond: The Electric Explorations of Miles Davis, 1967–1991. Watson-Guptill. p. 54. ISBN 978-0-8230-8346-6.
- Altered State: The Story of Ecstasy Culture and Acid House, Matthew Collin, 1997, Serpent's Tail ISBN 1-85242-377-3
- Childs, Peter; Storry, Mike, eds. (2002). "Ambient music". Encyclopedia of Contemporary British Culture. London: Routledge. p. 22.
- Yehuda, Nechama (2011). "Music and Stress". The Journal of Adult Development. 18: 85–94. doi:10.1007/s10804-010-9117-4.
- How Music Works by David Byrne, McSweeney's, 2012.
- Ambient - Youtube Channel Archived 2018-02-12 at the Wayback Machine.
- "Meditation Relax Music". YouTube. Archived from the original on 2018-02-21.
- "Soothing Relaxation". YouTube. Archived from the original on 2018-02-16.
- Toop, David (1995). Ocean of Sound. Serpent's Tail. p. 115. ISBN 9781852423827.
- Mattingly, Rick (2002). The Techno Primer: The Essential Reference for Loop-based Music Styles. Hal Leonard Corporation. p. 38. ISBN 0634017888. Retrieved 1 April 2013.
- "Ambient House". AllMusic. Archived from the original on June 5, 2011. Retrieved October 4, 2006.
- Werner, Peter. "Epsilon: Ambient Industrial". Music Hyperreal. Archived from the original on June 25, 2012. Retrieved December 11, 2011.
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- AllMusic. "Dark Ambient: Significant Albums, Artists, and Songs". Archived from the original on 21 June 2014. Retrieved 8 July 2013.
- "... Originally a 1970s reference to the conjunction of ambient electronics and our expanding visions of cosmic space ... 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? Archived 2006-03-25 at the Wayback Machine.
- "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, Making Sense of the Last 20 Years in New Music Archived 2007-09-27 at the Wayback Machine.
- "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? Archived 2006-03-25 at the Wayback Machine.
- "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 Archived 2010-12-25 at the Wayback Machine.
- "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 Archived 2007-06-14 at the Wayback Machine.
- "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 Archived 2010-04-05 at the Wayback Machine.
- "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 Archived 2010-04-05 at the Wayback Machine.
- "...Spacemusic ... conjures up either outer "space" or "inner space" " – Lloyd Barde, founder of Backroads Music Notes on Ambient Music, Hyperreal Music Archive Archived 2007-09-29 at the Wayback Machine.
- "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 Archived 2010-04-05 at the Wayback Machine.
- " 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? Archived 2006-03-25 at the Wayback Machine.
- "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 Archived 2007-09-29 at the Wayback Machine.
- "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 Archived 2010-12-25 at the Wayback Machine.
- "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 Archived August 11, 2007, at the Wayback Machine.
- "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 Archived 2007-08-14 at the Wayback Machine.
- "Avaruusromua 25 vuotta radiossa ja kerran televisiossa!". yle.fi. Archived from the original on 2016-06-25.