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“It's not music. It's a design, ” Brian Eno explained to baffled critics what strange record he released in 1978. Despite the fact that the name of the album included the word “music”, it really didn't look like music. The album was called ” Ambient 1 / Music For Airports “(“Ambient 1 / Music for Airports”).
The quiet, detached sounds that made up the entire 40 minutes of the program, the author explained, should be perceived as “part of the atmosphere of the environment, just as the color and sound of rain are part of the atmosphere.” And indeed, quite soon in many crowded places – not only in airports, but also in restaurants, large department stores, clinics, instead of the more usual collections of fashion hits, such special programs began to appear that do not contain melodic material, but create a certain mood and atmosphere.
Brian Eno was wrong, of course. From the very beginning of his career in the band “Roxy Music” in the early 70s, he was responsible for sound effects and established himself as the main specialist on the pop scene in this specific business. But it turned out that there is a great demand for “effects”. Especially in the movies. It was from Eno that David Lynch commissioned the soundtrack for his film “Dune” (1984), and Bill Gates – a set of original audio signals for the Windows operating system. But the main thing is that what Eno himself did not consider music, as a result, became not just a part of music, but a separate full-fledged genre, in which thousands of performers work today. The technical term “ambient”, that is, “ambient”, which Eno used, became the name of a popular musical direction, which today already has more than a dozen subgenres: dark ambient, ambient techno, ambient house, etc. and even “Experimental Ambient” – an experimental subgenre of the experimental genre!
This is the peculiarity of the development of music: radical experiments, which in the opinion of most highly learned critics are not music at all, after a while become not only a completely legitimate part of music-they become classics.
When, in the early twentieth century, the American composer Charles Ives brought two brass bands to the stage, which simultaneously played two different works in different rhythms and keys, the audience fled in horror. Today in the United States, Ives is considered the most significant national composer who anticipated the emergence of polyrhythmy, polytonal and atonal music. The European composers who followed him, Stravinsky, Schoenberg, Berg, and Webern, brought these experiments into the system, creating the foundations of serial music and dodecaphony. Today it is a classic that is constantly played on the philharmonic stage.
When the Russian engineer Levterman came up with the termevox in 1920, which became the first full-fledged electronic instrument, at first he performed, demonstrating its capabilities, like a magician. These were lectures on physics, but there was no talk of music.
Just 50 years later, the band “Led Zeppelin” without fail already carried a theremin at concerts, because it became an integral part of the sound of one of the main hits of the group. Glissando down (gliding sounds) in the track “Whole Lotta Love”, a riff that is recognized as “the greatest in the history of rock music” – an important part of the composition. In the finale, Jimmy Page performs a long solo on the theremin.
Today, one hundred years after the invention of the instrument, Moog makes compact concert theremin boxes in series – it is in constant and steady demand.
Approximately the same story happened with the genre of “industrial” – well, who can seriously consider the noise of working machines as music? But the Germans “Ramstein” took up the task, adding heavy metal sounds to the “machines” – and this has already become the standard. Now the composer from Iceland Hildur Gudnadouttir for the soundtrack to the TV series “Chernobyl”, in which she used the sounds of a working nuclear power plant, received a Golden Globe and an Oscar.
There is also an actively developing extensive direction under the general name “noise” – “noise”. There are a lot of interesting things going on there (some of them have already become classics).
What does this mean? So if a certain style doesn't seem to be music at all, but rather a mockery of common sense and your ears, don't rush to declare this phenomenon “non-music”. Perhaps you are present at the birth of something brilliant that will become a classic after a while. It's just that the audience hasn't realized it yet.
The goal of music is either to evoke emotion or to be a pleasant backdrop to life. If the music performs its task, what difference does it make with which instrument you played the sound? On the other hand, live music and electronic music don't have to contradict each other. They can be mixed. If it is done with talent, both live and electronic music enrich each other.
This question is similar to the question “do you consider an electronic watch to be a clock?”. Of course, because they also show the time, just made using a different technology. So is electronic music — it can evoke emotions in people and prompt them to think, even if it is made on electronic instruments. Do you remember what Okudzhava said there — “from some kind of wood, from some rough veins…”?
yes
(I didn't spend too much time on this topic, because brevity is the sister of talent, and for a number of other reasons that don't allow me to spend the Internet on non-production needs, besides, for many people, electronic music is associated with club music ala Parkeng-Eldorado, especially in this group you can single out PP fans – meaning Russian Rock, and the keys are already tired of pressing : – D)
Why isn't it music all of a sudden?
Electronic music is at the heart of the avant-garde. All music created with the help of programmed machines, or in which sampling is used, is avant-garde only by these criteria. (And music that has structural repetition is also an avant-garde criterion.)
Music is divided into two categories: music and anti-music
Experimentalism is a more radical form of the avant-garde. (Like capitalism and anarcho-capitalism) Examples are: Japanoise, Onkyokei; who experiment not only with structure, but also with recording methods, and create homemade instruments.
Electronic music destroyed the established foundations in music and the concept of avant-garde music. Whose origins lie in modernism and futurism, and as you know, futurism is an avant-garde art. In the post-modern era, it became a bridge between the avant-garde and popular music. (when art ceased to be divided into high and low) And this marked the avant-garde of the second wave, which can be called the post-avant-garde.
It depends on what kind of music it is. There are many types of electronic music, google it's interesting. Let's say there are old songs that are overlaid with electronic music, and there is electronic music khm khm, those very sounds of solitude. It all depends on the taste of the person 😉
Of course yes 🙂
Periodically, with the development of music and the emergence of new styles and methods of its production, critical assessments arise – that the new style of music lacks melody, harmony, breaks established traditions, violates rules. Such ratings were given to jazz, rock, and rap. There are always some expectations from what is called music, and if the listener is used to a certain structure of music, it is natural that something created according to completely different rules and in other ways may not meet their expectations.
I'm a little more familiar with the process of creating live music than I am with electronic music, although I was interested in both. I would say that electronic music requires no less brain work, but this work is more focused on creating and processing sounds, on the rhythmic component, and choosing various sound combinations. Electronic music often uses samples, and this makes it seem easy when a musician doesn't need to be able to play. But you need to be able to do a lot of things other than that.
Music is in the listener's ears and head, but without it, it's just vibrations in the air. It, like any other facet of art in the broadest sense of the word, is a reflection of the culture of the society in which this music is created.
The Western “branch” of music, the whole theory, all the notes-all this was born in an exclusively religious atmosphere, according to the principle “What is above is below”, the notes were chosen in a certain way, connected with something significant in the religious dogmas of that time.
In the East, for example, there were initially much more notes(tones, semitones, microtones). When the local theory was created, some tones and consonances were associated with the singing of birds, for example, and with other pleasant details of “their” worldview.
I apologize for being tongue-tied and rather abrupt transitions from topic to topic, but my point is that we have long been postmodern, before that there was modernism, cultural ties are confused, technologies are moving forward, providing huge opportunities for experiments on everything that is possible.�
Check out the music experimenter here. Experience, skill, charisma, curls:
https://www.youtube.com/watch?v=46w99bZ3W_M
Here I have always been surprised and infuriated by people who consider electronic music unnatural or define it as a beat and “groaning-creaking sounds”. And all this is due to the fact that such people , when mentioning the phrase “electronic music”, immediately imagine a tuber or dubstep, that is, what is popular. But it should be understood that electronic music is not limited to tracks that you can jump and hang out with, it is much richer and more interesting. And now in order:
Unnatural? And for example, such a genre as Ambient ? Did you hear that? The name itself translates as “environment” and includes the sounds of nature , cities and much more with the addition of just a couple of electronic samples create a very pleasant and relaxing picture of nature and immersion in the atmosphere.
Trivial and monotonous? There are a lot of genres , I'll take IDM as an example. To a person who is not used to such a symphony of various sounds , this may seem, to put it mildly, strange . But it's all about perception, namely to imagine such music as a kind of puzzle and even so different (with each new track) and very non-standard, and meeting with non-standard generates diversity . Personally, I like to listen to IDM when I walk around industrial areas (the atmosphere is at the level ) or when I solve mathematical problems, equations are built in my head to the beat of music, but perception is a subjective matter.
Does it have no artistic value? Stop stop. Remember, there is not only a tuber and dance dance dance. There are a huge number of artists and genres that carry a huge amount of emotions like sadness or energy and ideas like describing a beauty or event.What an atmosphere.
Electronica is the same music as all other directions and it is an art. And the whole thing is off the charts because people perceive another genre superficially. Now, if they say that rap is reading about cars, money and chicks, metal is screaming satanists, and rock is patty guys howling about teenage problems. What do you think? But it's not like that. It's the same with electronic music. So be reasonable.
Good luck
The very concept of electronic music is quite extensible, because electronic music includes a lot of subgenres, in which there are clearly built harmonic motifs, one-sided firecrackers, and purely experimental sounds reproduced by certain improvised instruments. If you start from electronic music, the fathers of which are, for example, Jean-Michel Jarre or Gershon Kingsley, then this is the real music. One of Jarre's works gave the world a huge number of masterpieces – “Oxygen”, “Magnetic fields”, “Ethnicolor”, “Equinoxe” and much more. And everyone knows Kingsley's Popcorn, although not everyone knows whose creation it is.
Over the years, electronic music has branched out and spawned new genres like techno, house, trance, dubstep, and so on. Here some of its forms began to take on a look that is difficult to call music, because the abundance of all sorts of DJ “catalysts” to the endless “boom-boom” rhythm is not the greatest pleasure for a music lover, but only an excuse to jump in clubs under the degree with girls.
But, again, a lot depends directly on the musician. There are some authors that I, being not a particular fan of electronic music, can sometimes listen to. I heard” Children ” by Robert Miles 20 years ago, and I still have it in all my playlists and I enjoy listening to it every time. And, by the way, one of the most important contemporary Russian composers – Eduard Artemyev – is also mostly a representative of electronic music. What is only this masterpiece of his worth:
https://www.youtube.com/embed/sAr8Hx_szOk?wmode=opaque
Sure. I'll give you an analog to make it clear: there is traditional and digital drawing. That is, drawing on paper with a pencil, paints, etc. and drawing on a graphic tablet. Both are types of drawing, the only difference is in the use of tools. It's the same in music – different instruments that are used to create compositions. Otherwise, if it were not music, anyone could easily compose it, but, as practice shows, this is far from the case.