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1	Bakgrundsmusikens betydelse på skärgårdskrogen Karlhager, Tobias January 2008 (has links) <p>Examensarbete 15 hp, lärarexamen</p> bakgrundsmusik restaurangmusik ”muzak"
2	Functional music and consumer culture (instrumental version) Dick, Terence January 1998 (has links) (PDF) No description available. Music Social aspects Music trade Muzak (Trademark) Musique Aspect social Musique Industrie Muzak®
3	Ahumada Muzak — aproximaciones al sistema de música ambiental instalado en los principales paseos peatonales de Santiago Centro entre los años 2003 y 2008 Poveda Viera, Juan Carlos January 2010 (has links) Retomando las intenciones expresadas en la introducción de esta tesis, cabría destacar que nuestra motivación principal se rigió por el afán de “repensar constantemente sobre el rol de la música dentro de la eventualidad sonora del cotidiano”. Este “repensar” incluyó dinámicas discursivas, modos de control y formas de escucha, todo esto con el fin de instalar en la reflexión musicológica una diversidad de problemáticas sobre nuestra relación con el espacio, tradición e identidad cultural, así como con la naturaleza de nuestras vivencias estéticas. Musicología Música ambiental Espacio urbano Muzak Paseo Ahumada
4	Ambient musik : En undersökning om spatial musik som klingande arkitektur / Ambient Music : Investigating spatial music as sounding architecture Milveden, Jens January 2022 (has links) ”Ambient Music”, established and described by its ”creator” Brian Eno, has become a term with a wide range of uses - as generative music, in sound- and audiovisual art installation, a mediated ”sound” of a genre through albums and artists to plug in to during your daily walk - as well as any imaginable association with the term connected to public, spatial or virtual ambience. Through the liner notes of the genres original albums (Ambient 1: Music For Airports of 1978, and to some extent Discreet Music of 1975) it is clear though that the original idea is more related to listening to your own spatial awareness as a form of music rather than a following of certain sounds and conventions that the term has been associated with. At the time as a sonic alternative to conventional background music of public spaces. The author suggests that these ideas never would have surfaced if it wasn’t for the earlier ideas of Erik Satie and John Cage, whose sonic frameworks and instructions beyond the traditional music sheet were vital for Eno to create generative canvases of sounding art for the spaces. The paper then focuses on consolidating the term ”Ambient Music” with its frameworks in art and function by deconstructing it between spatial, architectonic usage and as a mediated genre of a ”sound”, via virtual generative music - and back again, via its original description of enhancing environments ”acoustic and atmospheric idiosyncracies”. With Eno’s original thesis in mind the paper continues to explore where ”Ambient Music” (through arguably its sub-genre, ”Spatial Music”) is today, as well as looking at the potential futures for the genres’ artistic functions as an established and accepted sonic element of physical architecture and public spaces. This exemplified by building a bridge between ”Ambient Music” and the modern ”non-ambient” sonic scenographer, ”Spatial Music”-artist Mareike Dobewall, for further discussions on sound art as sounding architecture - a potential future for the Ambient label. Sonic Spatial Ambient Architecture John Cage Brian Eno Dobewall Erik Satie Music Soundscape Generative Music For Airports Furniture Music Indeterminacy Ambience Space Acoustics Sound Installation Audiovisual Atmosphere Landscape Muzak Background Music Musica Mundana Voicelanding Phenomenology Spatial Ambient Arkitektur Musik John Cage Brian Eno Dobewall Erik Satie Musica Mundana Voicelanding Ljudlandskap Generativ Möblemangsmusik Indeterminism Ambiens Rumslighet Akustik Installation Ljudinstallation Audiovisuell Atmosfär Landskap Muzak Bakgrundsmusik Fenomenologi Musicology Musikvetenskap

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