Cage and Ames both sought to bridge Western and Eastern cultures, assimilate Chinese philosophy, and modify Zen philosophy for modern society by adopting Thoreau’s humanistic and social theories, and relating pragmatism to their ideal social model. Suzuki in the 1950s and was similar to Ames’s philosophic outlook. In the 1960s Cage’s spiritual belief diverged from his study of Zen with Daisetz T. I suggest that this friendship and Ames’s publications contributed to Cage’s understanding of Zen during the 1960s and the development of his philosophy from this period. Cage’s five-month tenure as composer-in-residence at UC enabled the two friends to be in close proximity and proved to be the highlight of their relationship. This exchange added to the composer’s knowledge of Zen and Western philosophies, specifically pragmatism. Starting in 1957, Cage and Ames explored their common interest in Zen and social philosophies through extensive correspondence. It considers Zen Buddhism as the framework of their friendship, and the residency as evidence of Cage’s implementation of his 1960s philosophy. Feel free to email me at thesis examines the previously undocumented friendship between John Cage and Van Meter Ames from 1957 to 1985 and Cage’s residency at the University of Cincinnati (UC) from January to May 1967. I am happy to share a PDF with anyone interested in reading. Chapter 7 concludes the study with an overview of various recordings by The Orb, KLF, Mixmaster Morris, and Pete Namlook in the “ambient house” subgenre of electronic dance music, illustrating their connections with the aesthetic themes and promotional discourses of earlier Ambient recordings. It concludes with a brief reading of Eno’s On Land (Editions E.G., 1982), which cemented Ambient music’s significance within private, individualized reception. Chapter 6 examines Brian Eno’s Music for Airports (Editions E.G., 1978) through a comparative analysis with The Black Dog’s Music for Real Airports (Soma Quality Recordings, 2010), illuminating the relevance of Ambient music’s contexts of consumption to interpretation. Chapters 6 and 7 outline Ambient music’s explicit emergence as a term in the popular music market. It concludes with a media analysis of the record as a consumer product, illustrating how the elimination of authorial intention in experimental composition and cybernetics translates into popular art. Chapter 5 analyzes the title recording on Eno’s Discreet Music album (Obscure, 1975), placing its production in the context of 1960s and ‘70s English minimalism, as well as the research field of cybernetics. Chapter 4 identifies precedents for Eno’s concept in the experimental avant-garde music of Erik Satie, John Cage, La Monte Young, and Steve Reich. Chapters 4 and 5 investigate various artistic and conceptual practices that informed Brian Eno’s conception of Ambient music. Chapter 2 compares and contrasts Environments with recordings from the concurrently emerging Acoustic Ecology movement. These analyses elucidate the aesthetics and technological uses that since consolidated Ambient music as a genre, and describe shifting attitudes toward consumer technology in the Western environmental and countercultural movements. Chapters 1 and 3 examine two proto-Ambient recordings from the Environments series of nature sound LPs (Atlantic, 1969–78), released by Syntonic Research, Inc. A survey of approximately one-hundred Ambient listeners rounds out the study, illuminating from a present-day perspective how reception practices relate to the production and interpretation of Ambient recordings. Unlike most extant accounts of the genre, it also explores how Ambient recordings reflect aesthetically upon their instrumentality through musical techniques, metaphors, and moods. It describes how Ambient music serves users as a means of relaxing, regulating mood, and fostering an atmosphere or sense of place. Through music analyses of these recordings, as well as media analyses of their promotional rhetoric, this dissertation traces the sonic tropes and social practices discursively organized by the “Ambient” label. and England between the late 1960s and early 1990s. This dissertation examines several key recordings in the formation of the Ambient genre of popular music, with focus on releases from the U.S. Since Eno’s proposal, Ambient music has become a genre of drone- and loop-based electronic music within the popular music market. Ambient music, he proposed, should foster calm while registering doubt, and accommodate various different levels of listening attention. In September 1978, Brian Eno coined the term “Ambient music” to describe a type of audio recording designed to create atmosphere.
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