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.
In each verse, a decision awaits us, and we can't choose to close our eyes and let instinct work on its own. Poetic instinct consists of an alert tension.
Double, double, toil and trouble; Fire burn, and cauldron bubble!
I think the only thing filmmakers can do is try to make good movies and make them as long as they allow us to keep making them. But at the end of the day, it is a business, and if audiences don't care, there's nothing we can do. It'll just go away, I guess.
Space has a way of looking. It seems like it has a presence of vision. When you come into it, it is there, it’s been waiting for you.
Actors are the jockeys of literature. Others supply the horses, the plays, and we simply make them run.
If, when you wake up in the morning, you can think of nothing but writing . . . then you are a writer.
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