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Ambient music : Ambient
The term was first coined by Brian Eno in the late 1970s to refer to music that would envelop the listener without drawing attention to itself. Hence, Brian Eno is considered the father of ambient music. Sometimes associated with elevator music and Muzak, it is more often similar to mood music[?] or an ambient background in movie and radio sound effects. Often listeners will forget they are listening to ambient music, which is one of the biggest attractions of the genre. It can be any musical style, including jazz, electronica and modern classical music. Retrospectively, some of the works of the 20th century French composer Erik Satie, today best known for his Trois Gymnopédies[?] suite, can be regarded as predecessors of modern ambient music. The invention of the first electronic instrument, the theremin in the early 20th century is also considered an important influence on the later development of ambient music. Similarly some of the works of the French composer Edgar Varèse, who used the theremin extensively in his music can also be viewed as predecessors of ambient music. Although purely Ambient music is traditionally beatless, most modern Ambient electronica (sometimes referred to as Ambient techno) has reconciled rhythm with the dreamy, meandering reverb of the first wave of Ambient music. With the birth of a new wave of electronic music in the late 1980s, ambient saw a resurgence in the works of artists like the Orb, Aphex Twin and the Irresistible Force. Ambient electronica is the current most popular form of the genre. Artists include Aphex Twin and William Orbit, and earlier artists such as Ray Lynch[?] and Mannheim Steamroller[?], both of which were considered at the time, the 1980s, to be "New Age". Works by Kraftwerk and Vangelis have greatly influenced the genre. Other prominent artists that make ambient electronic music include Air, Biosphere and Jean-Michel Jarre. See also:
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morning, for go.html">I go to the country at six o'clock, and shall not return
CHAPTER XXXIII
SUSPENSE
"Did you observe how I cut the conversation short?" Balzajette said, as
go. I cannot imagine why she spoke to you of this assassinated man.html">man.html">man, can
point. In any case, it has given her a horror.html">horror of this house."
He continued thus without Saniel listening to what he said. On reaching
of his young 'confrere', "but I feel that I must hurry. 'Au revoir'."
A good riddance! This babbling gave Saniel the vertigo.
He must recover himself, look the situation in the face.html">face, and consider
lamplight struck him full in the face, she found in him the man whom she
refused to believe it, her questions regarding Caffie, and Balzajette's
replaced doubt by the horror of certainty. He was the assassin; she knew
that she was not the woman to challenge the testimony of her eyes, and to
Balzajette's words.
With a vivid clearness he saw to the bottom of the abyss open before him;
giddy whirlpool, that is, to whom she would reveal the discovery that she
not be to Phillis, for at this moment she would be at his rooms,
thought that she might be the first to learn the truth. He did not wish
thinking more of Phillis than of himself. What distress when she should
would it inspire her, with what judgment for the man whom she loved?
it was his fault; he bore the penalty of his own stupidity. But Phillis
this sensitive heart, to this proud and noble soul!
Perhaps he would now see her for the last time, for this one hour, and
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