Environmental

The roots of environmental music lie in the early 20th century with Erik Satie's concept of Musique d'ameublement (Furniture Music), which was intended to be background noise rather than the focus of attention. Later, John Cage's 4'33" (1952) challenged the definition of music by framing the ambient sounds of the environment as the performance itself.

The genre was formally commercialized and named in the United States in 1969 by Irv Teibel with his Environments series. Teibel released long-form field recordings, such as The Psychologically Ultimate Seashore, marketing them not just as sound effects but as functional tools for improving concentration, sleep, and mood. This marked the first time 'environmental' was used as a distinct genre label for consumers.

In the early 1970s, Wendy Carlos released Sonic Seasonings (1972), which fused synthesized sounds with field recordings, bridging the gap between nature sounds and musical composition. By the late 1970s, Brian Eno crystallized these ideas into 'Ambient' music, emphasizing that the music should be 'as ignorable as it is interesting.'

In the 1980s, Japan developed its own sophisticated branch of environmental music known as Kankyō Ongaku. Artists like Hiroshi Yoshimura and Satoshi Ashikawa composed music specifically for public spaces, architectural environments, and commercial products, focusing on texture, space, and the integration of sound with daily life.

Start with high-quality field recordings of natural environments (rain, ocean, forest, wind). These should be long, continuous takes without jarring interruptions to establish a consistent sense of place.

If adding musical elements, use instruments with soft attacks and long decays, such as synthesizers (pads), electric piano, or flute. Avoid complex melodies or catchy hooks; the music should drift rather than drive.

Use reverb and delay to create a sense of vastness. The goal is to simulate a physical space. Ensure the mix leaves room for the 'environment' to breathe, often placing the nature sounds at the forefront or weaving them intricately with the musical textures.

Avoid traditional verse-chorus structures. Use loops, drones, or generative systems where the music evolves slowly and imperceptibly over long durations, allowing the listener to tune in and out without missing a 'narrative.'