@gandhiandy . Ambient 1: Music for Airports è un album del musicista inglese Brian Eno, pubblicato nel 1978 dalla Polydor Records. Ambient 1: Music for Airports is the sixth studio album by English musician Brian Eno, released in 1978 by Polydor Records. By expressing ambivalence about the reality of airports and air travel, these Ambient records characteristically convey apprehension about the technological administration of human experience – a phenomenon that includes personal recorded music listening. This data will be updated every 24 hours. [5] Nel descrivere l'album, Eno ha dichiarato: «Una delle cose che la musica può fare è distorcere la tua percezione del tempo in modo che non ti interessi realmente se le cose scivolano via o si alterano in qualche modo.[5]». According to Wikipedia, the extended 9:38 version first appeared on the CD and Working Backwards box set, but never seen the short version. With all of Eno’s work, there remains a hint of indulgence, but that doesn’t detract from the effectiveness of the music itself. Close this message to accept cookies or find out how to manage your cookie settings. I appreciate and value Music for Airports far more than I love it. In the liner notes to his album Ambient 1: Music for Airports (1978), Brian Eno (1948–) defined Ambient music in contradistinction to Muzak's ‘derivative’ instrumental pop arrangements. As a deliberate contrast, Music for Airports is comprised of calming tones that induce sedation and tranquillity. Per farne un brano musicale, ho tagliato quella parte, ne ho fatto un loop stereo sul "24 tracce" ed ho scoperto che mi piaceva di più se suonato a metà velocità, in modo che gli strumenti risultassero molto sommessi e che tutto il movimento fosse molto lento. * Views captured on Cambridge Core between . While the release has a purpose, Eno took to recording in unusual ways. This is wholly not music for every situation! Label: Virgin Japan - VJD-28038,Editions EG - VJD-28038 • Series: Ambient (2) - 1,British Rock History On CD Vol.1 E'G • Format: CD Album, Promo, Reissue • Country: Japan • … [12] Tom Moon ha inserito l'album fra i "mille dischi da sentire prima di morire" e sostiene che le tracce 1/1 e 2/2 "lanciano un incantesimo accattivante".[13]. Beautiful copy. Huge step up from EG copy or CD. The album consists of four compositions created by layering tape loops of differing lengths, and was designed to be continuously looped as a sound installation, with the intent of defusing the tense, anxious atmosphere of an airport terminal. Music for Airports is comprised of calming tones that induce sedation and tranquillity. Get monthly roundups straight to your inbox. Most LP pressings only contain a 6 minute shortened version of 2/2 instead of the original length of 9.38 min. In “2/1” especially, where the piano is far more tentative and unpredictable, I’ve found an underlying sense of concern or foreboding that probably wasn’t entirely intentional. “2/2” has a more explorative vibe, anticipating the types of sound patterns that would define David Bowie’s Low. [9]», Ambient 1: Music for Airports ha ricevuto ottimi giudizi dalla critica e dalla stampa specializzata ed è reputato una pietra miliare della musica d'atmosfera. La successione dei brani ed i loro titoli sono stati scelti in funzione dell'originale disco in vinile del 1978: la prima cifra corrisponde al numero del brano e la seconda alla facciata del disco. does this edition actually exist or is it the same as the PVC issue, just miscategorized? No gods, no masters, only synthesizers. As early as 1975 Eno theorized on the possibilities for such music: "we might simply use it to 'tint' the environment, we might use it 'diagrammatically,' we might use it to modify our moods in almost subliminal ways." Worth every penny.Download included. Nothing but music. Music for Airports largely succeeded on both accounts, and whilst it wasn’t the first album of its kind, it was effectively responsible for the establishment of ambient music. Before there was a style of music called "ambient" -- with offshoots reaching into classical, world, and "new age" musics, as well as electronica and a variety of dance-based sub-genres -- the phrase "ambient music" was largely connected to Brian Eno.Eno, known in part for his work with groups like Roxy Music, Talking Heads, and U2, has also produced a significant catalog of his own music. "Music for Airports employs the phasing of tape loops of different length in some tracks, where, for example, in "1/1", a single piano melody is repeated and at different times other instruments will fade in and out in a complex, evolving pattern due to the phenomenon of phasing: at some point these instrumental sounds will clump together, at some points, be spread apart. At one point an album of harp music was playing, very quietly, in his room. As Eno says, ‘doubt and uncertainty’ crucially remain part of the mix on Music for Airports, but they are benign and indifferent. Full text views reflects the number of PDF downloads, PDFs sent to Google Drive, Dropbox and Kindle and HTML full text views. 9: Studies on the History and Interpretation of Music, Getting Loose: Lifestyle Consumption in the 1970s, Brecht on Theatre: The Development of an Aesthetic, The Social Uses of Background Music for Personal Enhancement, Music and Manipulation: On the Social Uses and Social Control of Music, Sounding Out the City: Personal Stereos and the Management of Everyday Life, Sound Moves: iPod Culture and Urban Experience, Art and Mood: Preliminary Notes and Conjectures, How to Get from Space to Place in a Fairly Short Stretch of Time: Phenomenological Prolegomena, Ways of Listening: An Ecological Approach to the Perception of Musical Meaning, Listening through the Noise: The Aesthetics of Experimental Electronic Music, Drone and Apocalypse: An Exhibit Catalog for the End of the World, Listening In: Radio and the American Imagination, Repeating Ourselves: American Minimal Music as Cultural Practice, The Ecological Approach to Visual Perception, Modernity and Self-Identity: Self and Society in the Late Modern Age, Distracted Listening: On Not Making Sound Choices in the 1930s, Sound in the Age of Mechanical Reproduction, Popular Music Audiences and Everyday Life, Electronic and Experimental Music: Technology, Music, and Culture, Ubiquitous Listening: Affect, Attention, and Distributed Subjectivity, ‘Music for Middlebrows: Defining the Easy Listening Era, 1946–1966’, The Changing Functions of Music Recordings and Listening Practices, Recorded Music: Performance, Culture and Technology, Elevator Music: A Surreal History of Muzak, Easy-Listening, and Other Moodsong, Ecology without Nature: Rethinking Environmental Aesthetics, Scoring Loss in Some Recent Popular Film and Television, The Marvelous Clouds: Toward a Philosophy of Elemental Media, The Ambient Century: From Mahler to Trance: The Evolution of Sound in the Electronic Age, Felt as Thought (or, Music Abstraction and the Semblance of Affect), Sound, Music, Affect: Theorizing Sonic Experience, Interpreting Muzak: Speculations on Musical Experience in Everyday Life, ‘The Spaces of Dream: Lutosławski's Modernist Heterotopias’, ‘Ambient Landscapes from Brian Eno to Tetsu Inoue’, Ambient Media: Japanese Atmospheres of Self, The Textual Life of Airports: Reading the Culture of Flight, On Some Faraway Beach: The Life and Times of Brian Eno, The Critical Tradition: Classic Texts and Contemporary Trends, Sounds like the Mall of America: Programmed Music and the Architectonics of Commercial Space, Resisting the Airport: Bang on a Can Performs Brian Eno, Ocean of Sound: Aether Talk, Ambient Sound and Imaginary Worlds, Triple Entendre: Furniture Music, Muzak, Muzak-Plus, Musical Ecologies of Place and Placelessness, Journal of the American Musicological Society, Portable Music and Its Functions.

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