We are increasingly likely to find ourselves in places with background music. No composers have thought to write for these modern spaces, which represent 30% of our musical experience.
Brian EnoRead
There are certain sounds that I've found work well in nearly any context. Their function is not so much musical as spatial: they define the edges of the territory of the music.
Interpretation
Brian Eno emphasizes the importance of specific sounds in music that help create a spatial sense rather than focusing solely on melody.
In this quote, Brian Eno highlights the significance of particular sounds that serve to outline and define the musical space within a piece rather than merely contributing melody or rhythmic elements. He suggests that these sounds create a framework that enhances the listener's experience, providing context and depth to the music, making them essential for the overall composition and emotional impact.
In practice
In a music production workshop, one might use this quote to discuss how ambient sounds can shape a track's atmosphere.
We are increasingly likely to find ourselves in places with background music. No composers have thought to write for these modern spaces, which represent 30% of our musical experience.
I think that technology is always invented for historical reasons, to solve a historical problem. But they very soon reveal themselves to be capable of doing things that aren't historical that nobody had ever thought of doing before.
When I first started making ambient music, I was setting up systems using synthesizers that generated pulses more or less randomly. The end result is a kind of music that continuously changes. Of course, until computers came along, all I could actually present of that work was a piece of its output.
People do dismiss ambient music, don't they? They call it 'easy listening,' as if to suggest that it should be hard to listen to.
In the future, you won't buy artists' works; you'll buy software that makes original pieces of 'their' works, or that recreates their way of looking at things. You could buy a Shostakovich box, or you could buy a Brahms box. You might want some Shostakovich slow-movement-like music to be generated. So then you use that box.
Ambient music must be as ignorable as it is interesting.
I think that when you decide to dedicate yourself to creative endeavors and surround yourself with people who are creative, you very quickly learn how hard it is to survive doing those kinds of things, not to mention make a living at them.
I write poetry because I can’t disobey the impulse; it would be like blocking a spring that surges up in my throat. For a long time I’ve been the servant of the song that comes, that appears and can’t be buried away. How to seal myself up now?…It no longer matters to me who receives what I submit. What I carry out is, in that respect, greater and deeper than I, I am merely the channel.
In the end, fiction is the craft of telling truth through lies.
My first plays were amazingly bad, but I had a teacher who thought I had promise, and he kept working with me. I finally went to a summer workshop before my senior year with people like Sam Shepard and Maria Irene Fornes who encouraged me to write from my subconscious, and suddenly all this material about culture clash came out.
I do not aspire to be in fashion. For what is in fashion, goes out of fashion _x000D_ If, on the contrary, your work is contested today, it doesn't matter. _x000D_ For when it is finally understood, it will be for eternity.
Music is emotional, and you may catch a musician in a very unemotional mood or you may not be in the same frame of mind as the musician. So a critic will often say a musician is slipping.
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