LEADER 03255 am 22004093- 450 001 9910563074103321 005 20231214145413.0 024 7 $a10.5920/beyondairports.fulltext 035 $a(CKB)4100000009845545 035 $a(OAPEN)1006311 035 $a(oapen)https://directory.doabooks.org/handle/20.500.12854/35019 035 $a(EXLCZ)994100000009845545 100 $a20191113||| xx uy 0 101 0 $aeng 135 $auuuuu---auuuu 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 00$aMusic beyond airports $eappraising ambient music /$fedited by Monty Adkins and Simon Cummings 210 $aHuddersfield$cUniversity of Huddersfield Press$d2019 215 $a1 online resource (254) 311 $a1-86218-161-6 327 $aIntroduction -- How much world do you want?: ambient listening and its questions / David Toop -- Space in the ambience: is ambient music socially relevant? / Ambrose Field -- A question of background: sites of listening / Ulf Holbrook -- Three manifestations of spatiality in ambient music / Richard Talbot -- The steady state theory: recalibrating the quiddity of ambient music / Simon Cummings -- Fragility, noise, and atmosphere in ambient music / Monty Adkins -- Channeling the ecstasy of Hildegard von Bingen: "O Euchari" remixed / Lisa Colton -- Ambient house: "Little Fluffy Clouds" and the sampler as time machine / Justin Morey -- Adaptive game scoring with ambient music / Axel Berndt. 330 $aThis collection of essays has been assembled and developed from papers given at the Ambient@40 International Conference held in February 2018 at the University of Huddersfield. The original premise of the conference was not merely to celebrate Eno?s work and the landmark release of Music for Airports in 1978, but to consider the development of the genre, how it has permeated our wider musical culture, and what the role of such music is today given the societal changes that have occurred since the release of that album. In the context of the conference, ambient was considered from the perspectives of aesthetic, influence, appropriation, process, strategy and activity. A detailed consideration of each of these topics could fill many volumes. With that in mind, this book does not seek to provide an in-depth analysis of each of these topics or a comprehensive history of the last 40 years of ambient music. Rather it provides a series of provocations, observations and reflections that each open up seams for further discussion. As such, this book should be read as a starting point for future research, one that seeks to critically interrogate the very meaning of ?ambient?, how it creates its effect, and how the genre can remain vital and relevant in twenty-first century music-making. 606 $aMusic$2bicssc 608 $aConference papers and proceedings.$2lcgft 610 $aMusic 610 $aairports 615 7$aMusic 676 $a781.648 702 $aAdkins$b Monty 702 $aCummings$b Simon 712 12$aAmbient@40 International Conference$f(2018 :$eUniversity of Huddersfield) 906 $aBOOK 912 $a9910563074103321 996 $aMusic beyond airports$93402111 997 $aUNINA