Editing Ambient music (section)

===1980s===
In the late 70s, new-age musician [[Laraaji]] began busking in New York parks and sidewalks, including Washington Square Park. It was there that Brian Eno heard Laraaji playing and asked him if he'd like to record an album. [[Ambient 3: Day of Radiance|''Day of Radiance'']] released in 1980, was the third album in Eno's Ambient series. Although Laraaji had already recorded a number of albums, this one gave him international recognition.<ref>{{Cite web|last=Beaumont-Thomas|first=Ben|date=2014-07-08|title=Laraaji: the Brian Eno of laughter|url=https://www.theguardian.com/music/2014/jul/08/laraaji-brian-eno-of-laughter|website=The Guardian}}</ref> Unlike other albums in the series, ''Day of Radiance'' featured mostly acoustic instruments instead of electronics.

In the mid-1980s, the possibilities to create a sonic landscape increased through the use of [[Sampling (music)|sampling]].  By the late 1980s, there was a steep increase in the incorporation of the computer in the writing and recording process of records. The sixteen-bit Macintosh platform with built-in sound and comparable IBM models would find themselves in studios and homes of musicians and record makers.<ref>{{cite journal |last1=Webster |first1=Peter |title=Historical Perspectives on Technology and Music |journal=Music Educators Journal |date=September 2002 |volume= 89 |issue= 1 |pages= 38–43, 54|doi=10.2307/3399883 |jstor=3399883 |s2cid=143483610 }}</ref> However, many artists were still working with analogue synthesizers and acoustic instruments to produce ambient works.

In 1983, [[Midori Takada]] recorded her first solo LP ''Through the Looking Glass'' in two days. She performed all parts on the album, with diverse instrumentation including percussion, marimba, gong, reed organ, bells, ocarina, vibraphone, piano and glass Coca-Cola bottles.<ref>{{Cite web|date=2017-03-24|title=Ambient pioneer Midori Takada: 'Everything on this earth has a sound'|url=http://www.theguardian.com/music/2017/mar/24/midori-takada-interview-through-the-looking-glass-reissue|access-date=2020-12-12|website=The Guardian|language=en}}</ref> Between 1988 and 1993, [[Éliane Radigue]] produced three hour-long works on the [[ARP 2500]] which were subsequently issued together as ''La Trilogie De La Mort''.<ref>{{Cite journal|title=Éliane Radigue|url=https://www.thewire.co.uk/issues/260|journal=The Wire|volume=260|pages=26|first = Dan|last = Warburton|date = October 2005}}</ref>

Also in 1988, founding member and director of the [[San Francisco Tape Music Center|San Francisco Tape Music Centre]], [[Pauline Oliveros]] coined the term "''deep listening''" after she recorded an album inside a huge underground cistern in Washington which has a 45-second reverberation time. The concept of Deep Listening then went on to become "an aesthetic based upon principles of improvisation, electronic music, ritual, teaching and meditation".<ref>{{Cite web|last=Ankeny|first=Jason|title=Pauline Oliveros Artist Biography|url=https://www.allmusic.com/artist/pauline-oliveros-mn0000522041/biography|website=All Music}}</ref>