To be honest, its pretty academic as far as Im concerned. There's 'a' definition of ambient, by Eno, which isn't 'relevant' to the way I work. There's a wider definition of it that is. I dont particularly care about genres anyway, so when I started using the term 'dark ambient', the perception of what 'dark' and 'ambient' entailed are specific to my own context. If a more appropriate term was there, I'd still not fit that, because my work isnt intended to 'fit' anything; its intended to evoke something, and what its intended to evoke overlaps with the sense of a 'dark ambience'.eduardo_b wrote: I would agree if ambient pieces are relatively short in duration, but 20 or 30 minute (or longer) works simply won't hold anyone's attention continually anyway, so the environment within an environment isn't necessarily an artificial construct -- there's an inherent passivity to it because of length. And given how other worldly ambient music tends to be, there's a built-in artifice comparative to "real world" musical instruments. I'm thinking of long classical music works, which are meant to be actively listened to (not background music per se).
I dont consider it ambient music either. But faced with it, its almost entirely impossible to be 'passive' about it; same with being drenched in a storm.Yes, but I would think of that as environmental sound as opposed to ambient music. Now perhaps this is an artificial construct on my part, but I listen to environmental CDs (thunder storms, etc.) and don't think of them as ambient in the way I would music that creates its own environment. Arbitrary, perhaps, but there it is.
I thought it was interesting, yes.Is it a good read then? I've seen it mentioned here, but readability seemed to be in the eyes of the beholder.
