- Brian Eno
- Erik Satie
- Twin Aphex
- Mixmaster Morris
- Kaitlyn Aurelia Smith
- Mandarin screw
- Steve Roach
With the release of Brian Eno's Music for Airports in 1978, the ambient genre seemed to be formed, albeit atmospheric and imaginary at the same time. This genre was aided by a short but stimulating text, which reminded us that music is not only in itself but is part of a limited sound propagation system between the society, time, the composer, technology, space, and, above all, the listeners. Brian sought to develop the discreet music scene in 1975, which reassessed the roles and possible relationships of music and the environment. In particular, Brians' ambient music experiences have attempted to formalize the relationship between music, listeners, and the places where they are.
Since 1978, the ambient has achieved a remarkable heritage, offering fertile land on which many divergent musical cultures have been planted and cultivated. His ability to reject didacticism, the idea that music should convey some information or education, remained an essential function of its success. The ambient offers an opportunity for an open and impressionist encounter, which welcomes a wide range of potential readings, adapting the music to individual situations and the public.
Before its musical application, the ambient and, more generally, the settings existed in different ways; in visual arts, literature, and architecture. Its presence in music, before its formalization, is usually just as fleeting and mysterious as an effect. Like a specter, it flows and flows through different works of the 20th century, without proper definition or questioning.
Works such as "musique d'ameublement" by Erik Satie (furniture music) reflect a particular interest in the decentralization of music, its existence, and its position as an atmosphere in time and space and its ability to influence us and where we are. Like Satie's work, ambient music refers to this decentralized spatial approach (real and imaginary). It is somewhat related to the perception of space, from the point of view, which reflects the disposition (change) of the spectator.
The ambient genre is generally conceptualized as landscape, environment, and today everything ambient is described as a soundscape. In recent years, people tend to think of the environment as an external field, something complex and tangible.
The ambient began as an ethereal, atmospheric fog, created by the dust of experience, gathered from the margins of understanding. Bloody borders, fuzzy and soft, but rich forms were, in fact, the raw elements from which the music came.
Some ambient artists include: