Editing Ambient music (section)

===1960s===
In the 1960s, many music groups experimented with unusual methods, with some of them creating what would later be called ambient music.

In the summer of 1962, composers [[Ramón Sender (composer)|Ramon Sender]] and [[Morton Subotnick]] founded [[San Francisco Tape Music Center|The San Francisco Tape Music Center]] which functioned both as an electronic music studio and concert venue.<ref>{{Cite book|url=https://www.worldcat.org/oclc/174500759|title=The San Francisco Tape Music Center : 1960s counterculture and the avant-garde|date=2008|publisher=University of California Press|others=Bernstein, David W., 1951–|isbn=978-0-520-24892-2|location=Berkeley|oclc=174500759}}</ref> Other composers working with tape recorders became members and collaborators including [[Pauline Oliveros]], [[Terry Riley]] and [[Steve Reich]]. Their compositions, among others, contributed to the development of [[minimal music]] (also called minimalism), which shares many similar concepts to ambient music such as repetitive patterns or pulses, steady drones, and consonant harmony.<ref>{{Cite journal|last=Johnson|first=Timothy A.|date=1994|title=Minimalism: Aesthetic, Style, or Technique?|url=https://www.jstor.org/stable/742508|journal=The Musical Quarterly|volume=78|issue=4|pages=742–773|doi=10.1093/mq/78.4.742|jstor=742508|issn=0027-4631}}</ref>

Many records were released in Europe and the United States of America between the mid-1960s and the mid-1990s that established the conventions of the ambient genre in the anglophone popular music market.<ref>{{Cite web|url=https://libraetd.lib.virginia.edu/public_view/td96k274j|title=Ambient Music as Popular Genre: Historiography, Interpretation, Critique|date=2015-04-22|website=University of Virginia Library|last=Szabo|first=Victor|archive-url=https://web.archive.org/web/20200210140757/https://libraetd.lib.virginia.edu/public_view/td96k274j|archive-date=2020-02-10}}</ref> Some 1960s records with ambient elements include ''[[Music for Yoga Meditation and Other Joys]]'' and ''[[Music for Zen Meditation]]'' by [[Tony Scott (musician)|Tony Scott]], ''[[Soothing Sounds for Baby]]'' by [[Raymond Scott]], and the first record of the [[Environments (album series)|''environments'' album series]] by [[Irv Teibel]].

In the late 1960s, French composer [[Éliane Radigue]] composed several pieces by processing tape loops from the feedback between two tape recorders and a microphone.<ref>{{Cite book|last=Rodgers|first=Tara|url=http://read.dukeupress.edu/books/book/2189/Pink-NoisesWomen-on-Electronic-Music-and-Sound|title=Pink Noises: Women on Electronic Music and Sound|date=2010|publisher=Duke University Press|isbn=978-0-8223-4661-6|language=en|doi=10.1215/9780822394150}}</ref> In the 1970s, she then went on to compose similar music almost exclusively with an [[ARP 2500|ARP 2500 synthesiser]], and her long, slow compositions have often been compared to [[drone music]].<ref>{{Cite book|url=https://www.worldcat.org/oclc/1127969966|title=Intermediary spaces = Espaces Intermédiaires|others=Radigue, Eliane, Eckhardt, Julia.|year = 2019|isbn=978-90-826495-5-0|location=Brussels|oclc=1127969966}}</ref><ref>{{Citation|title=A Portrait of Eliane Radigue (2009)|url=https://vimeo.com/8983993|language=en|access-date=2020-12-09}}</ref> In 1969, the group [[COUM Transmissions]] were performing sonic experiments in British art schools.<ref>Eliot Bates, "[https://wesscholar.wesleyan.edu/cgi/viewcontent.cgi?article=1007&context=etd_mas_theses Ambient Music]", MA thesis (Middletown, Connecticut: Wesleyan University, 1997, pg.19)</ref> [[Pearls Before Swine (band)|Pearls Before Swine]]'s 1968 album ''[[Balaklava (album)|Balaklava]]'' features the sounds of [[birdsong in music|birdsong]] and ocean noise, which were to become tropes of ambient music."<ref name="Wire">{{cite magazine |title=100 Records That Set the World on Fire (While No One Was Listening) |magazine=[[The Wire (magazine)|The Wire]] |issue=175 |date=September 1998}}</ref>