Monday, January 16, 2012

Transformation Ambient

When styles diverge in popular music and coalesce into new forms that demonstrate a pronounced difference from previous styles, these forms are identified by new names to denote their originality. 

When experimental music follows suit, the same thing is done to distinguish one mode of sound and composition from another.  Well-known examples are ambient and generative music as developed by Brian Eno, as well as the widely diverse stylings of popular electronic music termed electronica during the formative phases of digital music culture.

In speaking of transformation ambient as the result of various processes utilized in its creation, I am identifying the asymmetrical form of arranging combinations of tones in temporal and spatial relationships I employ to design sound compositions, the works produced in this manner, and the concept behind the music.

This theory proposes that by dispersing as well as ordering tones and phrases, the composition provides the listener an experience of ambient music that reflects naturally occurring and perceived environmental stimuli, thus disengaging anticipatory expectations and responses --the "following" of the progress of the "tune"-- associated with music generally. 

The result is transformation, altering ideas and methods related to composition, and, in turn, processes of listening as well.

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