Editing Ambient music (section)

===Origins===
[[File:Erik Satie en 1909.PNG|thumb|150px|[[Erik Satie]] is acknowledged as an important precursor to modern ambient music and an influence on Brian Eno.]]
As an early 20th-century French composer, [[Erik Satie]] used such [[Dadaist]]-inspired explorations to create an early form of ambient/[[background music]] that he labeled "[[furniture music]]" (''Musique d'ameublement''). This he described as being the sort of music that could be played during a dinner to create a background atmosphere for that activity, rather than serving as the focus of attention.<ref name="Jarrett">{{cite book|title=Sound Tracks: A Musical ABC, Volumes 1–3 |url=https://archive.org/details/soundtracksmusic00jarr |url-access=registration |last=Jarrett|first= Michael|year=1998|publisher=Temple University Press|page=1973|isbn=978-1-56639-641-7}}</ref>

In his own words, Satie sought to create "a music...which will be part of the noises of the environment, will take them into consideration. I think of it as melodious, softening the noises of the knives and forks at dinner, not dominating them, not imposing itself. It would fill up those heavy silences that sometime fall between friends dining together. It would spare them the trouble of paying attention to their own banal remarks. And at the same time it would neutralize the [[noise pollution|street noises]] which so indiscreetly enter into the play of conversation. To make such music would be to respond to a need."<ref name=":0">{{Cite web|url=http://slashseconds.org/issues/001/001/articles/11_psuchin/index.php|title=/seconds.|website=slashseconds.org|access-date=2016-04-05|url-status=live|archive-url=https://web.archive.org/web/20160304113254/http://www.slashseconds.org/issues/001/001/articles/11_psuchin/index.php|archive-date=2016-03-04}}</ref><ref>{{Cite web|url=http://music.hyperreal.org/epsilon/info/melchior.html|title=Epsilon: Ambient Music, Beginnings and Implications, by Chris Melchior|website=music.hyperreal.org|access-date=2016-04-05|url-status=live|archive-url=https://web.archive.org/web/20160305024415/http://music.hyperreal.org/epsilon/info/melchior.html|archive-date=2016-03-05}}</ref>

In 1948, French composer & engineer, Pierre Schaeffer coined the term [[musique concrète]]. This experimental style of music used recordings of natural sounds that were then modified, manipulated or effected to create a composition.<ref>{{Cite web|title=Musique concrète {{!}} musical composition technique|url=https://www.britannica.com/art/musique-concrete|access-date=2020-12-07|website=Encyclopedia Britannica|language=en}}</ref> Shaeffer's techniques of using [[tape loop]]s and splicing are considered to be the precursor to modern day [[Sampling (music)|sampling]].

In 1952, [[John Cage]] released his famous three-[[movement (music)|movement]] composition<ref>Kostelanetz 2003, 69–71,&nbsp;86,&nbsp;105,&nbsp;198,&nbsp;218,&nbsp;231.</ref> ''[[4'33]]'' which is a performance of complete silence for four minutes and thirty-three seconds. The piece is intended to capture the ambient sounds of the venue/location of the performance and have that be the music played.<ref name="npr">{{cite web|url=https://www.npr.org/2000/05/08/1073885/4-33|title=The Story Of '4'33"'
|website=[[Npr]]|last=Hermes|first=Will|date=May 8, 2000|access-date=March 11, 2020}}</ref> Cage has been cited by seminal artists such as Brian Eno as influence.<ref name="npr" />