definitions of ambient music
by mike brown 6 Jan 1994
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a genre of music is defined in part by a concept or purpose which precludes
or is developed during the creation of the body of work, and it is defined
in part by the resultant work itself, its instrumentation, arrangement, and
other similarities to existing works. one must look at stylistic
pigeonholes as a dynamic set of commonalities that only becomes static
after it is more or less suddenly abandoned as an art form. for example,
it is easy to define ragtime or swing because for the most part those
genres are no longer advancing. there are established conventions for the
creation of this sort of music, and to stray outside of these "rules" is
virtually unheard of today, and when it does happen the result is usually
not considered a part of the "authentic" style.
while some may like to adhere to the same kind of conventions in musical
styles that are actually still evolving --in particular i am thinking of
those who prefer to think of Ambient Music as only what it was defined to
be by Brian Eno-- it is my belief that in time the innovative combinations,
intentional or not, of elements of the academic, Eno-esque ambience with
other modern styles (trance, noise industrial, jazz, world music, etc.)
will be validated and accepted under the banner "ambient", despite the fact
that such new combinations may be only reminiscent of Eno's pieces in the
vaguest of constructs. indeed, some music was only called "instrumental"
or "industrial" for years until just recently the definition of ambient has
evolved and expanded enough to safely encompass these older works by the
likes of David Sylvian, Peter Gabriel, Einsterzende Neubauten, and Chris &
Cosey.
we are now seeing an overlapping of definitions as well. some space music
can be called ambient. some droning guitar rock can be called ambient.
some trance techno can be called ambient. where, then, can one draw some
boundaries in an attempt to describe the state of ambient music as it
exists today?
i'll try:
AMBIENT MUSIC_________
Brian Eno is credited with coining the term "ambient music" in the mid
1970s, although various examples of music with a similar sound and/or
purpose can be found dating back to the early part of this century. Eno's
version of ambient music, explained in part on the liner notes of his
ambient albums, is rooted in theory and method, well defined as the concept
moreso than the product. His music tends to be tonal and in certain keys,
but not that melodic, usually consisting of heavily processed electronic
drones and sparse, random notes. Basically the idea is to have a sort of
music that is actually a part of the environment --"room coloring" or
"sonic wallpaper". Instead of listening closely to the music, you play it
at soft volume levels so that it gives the room or art installation a
subtle feel it wouldn't have otherwise. Eno was strongly influenced by the
soft piano music of Erik Satie.
AMBIENT INDUSTRIAL_____
Experimental electronic music has been around for 40-odd years, but it
wasn't until Einsterzunde Neubauten ushered in a wave of noise-based
atmospheric music in the mid 1970s that an alternative evolved in contrast
to the dissonant cacophonies heard primarily in academic environments and
at modern dance exhibitions. While Pink Floyd and Hawkwind were merely
incorporating tape loops into their progressive rock epics, Neubauten and
other industrial subversives were constructing entire compositions &
atmospheres out of found sounds and layered effects. I haven't got much
information on this genre, so if someone would like to fill in this section
please do. In the mean time, I'll go listen to my Chris & Cosey album
_Trance_ a few more times.
EXPERIMENTAL ELECTRONIC
Usually unmelodic, sometimes entirely atonal, and only for the most patient
of listeners, experimental electronic music has an ambient appeal in that
people who aren't used to it usually have to swallow it whole and listen to
it as background noise. Again, it's a genre I know little about, so feel
free to explain it a bit for me. The 'experimental' part refers to the
deliberate purpose of the composition. Each work is intended to explore
certain aspects of the electronic sound medium; aesthetics tend not to be a
concern except to those who are creating the music. Almost any electronic
music you find dating back before the late 1960s will be 'experimental.'
ELECTRONIC ROCK________
Borne out of the psychedelic culture of the 1960s, some progressive rock
bands began dabbling in electronics. Before long there were musicians
working exclusively within the medium and for the first time contemporary
structures & melodies were arranged using synthesizers & organs. Some
bands dove headfirst into the psychedelic aspects, manipulating and shaping
sound environments to tease the ears of listeners who were stoned or
tripping. The amazing thing is that these forerunners of the ambient house
movement were more or less accepted by the average stadium rock fan; it was
not unusual to hear a Tangerine Dream instrumental space opus sandwiched
between tracks by Yes, Emerson Lake & Palmer, or Genesis on prog rock radio
of yesteryear. Tangerine Dream is by far the most famous of the electronic
rockers. From 1973 to around 1986 they created textural soundscapes with
the most advanced synthesizers and effects of the day, much of it
customized for their rich timbral explorations. Most of their works from
this time period shift through phases of moody solos and dark spaces, with
repeating 16th-note sequences in many of the segments.
SPACE MUSIC____________
This sub-genre of electronic rock doesn't see that much action, but fans of
space music usually can't get enough of it. Space music is hard to
describe. It tends to be repetitive and lengthy, built in gradually
multiplying layers, very electronic yet not entirely 'thick' or inorganic.
Once you hear a few examples, you'll figure it out. Klaus Schulze, who was
briefly in Tangerine Dream before they were using synthesizers, is the most
famous space musician. His albums "X", Timewind, and Mirage are good
starting points for the uninitiated, as well as the absolutely amazing
_Sonic Seasonings_ by Walter Carlos. More accessible to ambient house fans
is the rare and recently-bootlegged album called Space, a pseudonym for
Jimi Cauty of the KLF.
AMBIENT HOUSE__________
Around 1987 the dance music scene saw the birth of a style of repetitive
house music called Acid House, named not for drug influences but for the
idea of actually stealing bits of other people's music for the construction
of one's own song. Previously samplers had pretty much been used only to
drop in sporadic samples or to chop up vocals in order to "spice up" a
song. Very quickly, though, the clubgoers took the LSD and Ecstasy
implications of the phrase to heart and the rave scene was born. The 60's
returned with a vengeance and all-night psychedelic dance parties became
commonplace again throughout England and Chicago first, then eventually the
rest of the world. Chillout rooms sprang up at clubs & warehouse parties
as places for weary dancers to rest for a while before returning to the
main room to dance until the high, natural or induced, wore off. Alex
Paterson [...more to come]
TRANCE_________________
and ritualistic stuff