In the liner notes to his albumAmbient 1: Music for Airports(1978), Brian Eno (1948–) defined Ambient music in contradistinction to Muzak's ‘derivative’ instrumental pop arrangements. Ambient music's historians and critics have often followed Eno by describing Ambient music as an alternative to conventional ‘background’ or ‘programmed’ music for commercial spaces. Such descriptions can be misleading, however, given that Ambient music's dominant mode of reception is selective personal consumption, not public administration. This article investigates the aesthetics of Eno'sAirports, and elucidates the organizing role of the Ambient genre, within their primary reception context of personal recorded music listening. A comparison with The Black Dog'sMusic for Real Airports(2010) shows how Ambient music then and now reflexively affords atmospheric use by translating a sense of physical dwelling and passage into mixed musical moods. By expressing ambivalenceaboutthe reality of airports and air travel, these Ambient records characteristically convey apprehension about the technological administration of human experience – a phenomenon that includes personal recorded music listening.

中文翻译：

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令人不安的布赖恩·伊诺的机场音乐

在他专辑的班轮笔记中环境 1：机场音乐(1978)，Brian Eno (1948–) 将环境音乐定义为与 Muzak 的“衍生”器乐流行编曲形成鲜明对比。环境音乐的历史学家和评论家经常追随 Eno，将环境音乐描述为商业空间中传统“背景”或“程序化”音乐的替代品。然而，这样的描述可能会产生误导，因为环境音乐的主要接收模式是选择性的个人消费，而不是公共管理。这篇文章探讨了伊诺的美学机场，并在个人录制的音乐收听的主要接收环境中阐明了环境流派的组织作用。与黑狗的比较真实机场的音乐(2010) 展示了当时和现在的环境音乐如何通过将物理居住感和通道感转化为混合的音乐情绪来反射性地提供大气使用。通过表达矛盾心理关于机场和航空旅行的现实，这些 Ambient 记录典型地传达了对人类经验的技术管理的担忧——这种现象包括个人录制的音乐收听。