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BRIAN ENO’S
Ambient 1: Music
for Airports
 Oxford K EY NOT E S
Series Editor K e v i n C . K a r n e s

Sergei Prokofiev’s Alexander Nevsky

Kevin Bartig

Claude Debussy’s Clair de Lune

Gurminder Kaur Bhogal

Rodgers and Hammerstein’s Carousel

Tim Carter

Aaron Copland’s Appalachian Spring

Annegret Fauser

Arlen and Harburg’s Over the Rainbow

Walter Frisch

Arvo Pärt’s Tabula Rasa

Kevin C. Karnes

Beethoven’s Symphony No. 9

Alexander Rehding

Brian Eno’s Ambient 1: Music for Airports

John T. Lysaker
Oxford K EY NOT E S

BRIAN ENO’S
Ambient 1: Music for
Airports
JOH N T. LYSA K E R

1
 1
Oxford University Press is a department of the University of Oxford. It furthers
the University’s objective of excellence in research, scholarship, and education
by publishing worldwide. Oxford is a registered trade mark of Oxford University
Press in the UK and certain other countries.

Published in the United States of America by Oxford University Press

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© Oxford University Press 2019

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address above.

You must not circulate this work in any other form

and you must impose this same condition on any acquirer.

Library of Congress Cataloging-​i n-​Publication Data

Names: Lysaker, John T. author.
Title: Brian Eno’s Ambient 1: Music for airports / John T. Lysaker.
Description: New York, NY : Oxford University Press, 2019. |
Series: Oxford keynotes | Includes bibliographical references and index.
Identifiers: LCCN 2018012165 | ISBN 9780190497293 (hardcover : alk. paper) |
ISBN 9780190497309 (pbk. : alk. paper)
Subjects: LCSH: Eno, Brian, 1948– Music for airports.
Classification: LCC ML410.E58 L97 2019 | DDC 786.7—dc23
LC record available at https://lccn.loc.gov/2018012165

9 8 7 6 5 4 3 2 1
Paperback printed by WebCom, Inc., Canada
Hardback printed by Bridgeport National Bindery, Inc., United States of America
For Steven Brence and Jeff Stolle
 Series Editor’s
INTRODUCTION

O xford Keynotes reimagines the canons of

Western music for the twenty-​first century. With each
of its volumes dedicated to a single composition or album,
the series provides an informed, critical, and provocative
companion to music as artwork and experience. Books in
the series explore how works of music have engaged listen-
ers, performers, artists, and others through history and
in the present. They illuminate the roles of musicians and
musics in shaping Western cultures and societies, and they
seek to spark discussion of ongoing transitions in contem-
porary musical landscapes. Each approaches its key work
in a unique way, tailored to the distinct opportunities that
the work presents. Targeted at performers, curious listen-
ers, and advanced undergraduates, volumes in the series
are written by expert and engaging voices in their fields,
and will therefore be of significant interest to scholars and
critics as well.
In selecting titles for the series, Oxford Keynotes balances
two ways of defining the canons of Western music: as lists of
works that critics and scholars deem to have articulated key
moments in the history of the art, and as lists of works that
comprise the bulk of what consumers listen to, purchase,
and perform today. Often, the two lists intersect, but the
overlap is imperfect. While not neglecting the first, Oxford
Keynotes gives considerable weight to the second. It con-
fronts the musicological canon with the living repertoire of
performance and recording in classical, popular, jazz, and
other idioms. And it seeks to expand that living repertoire
through the latest musicological research.

Kevin C. Karnes
Emory University
 CONTENTS

A bou t t h e C om pa n ion W e b si t e x
Ack now l e d gm e n t s xi

Introduction: White Noise, Seminal Sounds 1

1 A First Listen, or Through a Glass Lightly 11
2 Music for Airports and the Avant-​Garde:
The Activity of Sounds 27
3 Eno’s Journey from Art School to the Studio:
Becoming a Non-​Musician 49
4 Ambience 81
5 Between Hearing and Listening: Music for Airports
as Conceptual Art 109
Crossroads: An Afterword 145

A ddi t iona l S ou rce s for R e a di ng

a n d L ist e n i ng 149
No t e s 151
I n de x 163
 ABOUT THE
COMPANION WEBSITE

O xford University Press has created a website to

accompany Brian Eno’s Ambient 1: Music for Airports
that features audio clips of many musical passages dis-
cussed over the course of the book. It also includes one
video clip that provides a glimpse of one of Eno’s video
paintings. Readers are encouraged to consult this resource
while working through the chapters. This will enrich their
experience of the book and Ambient 1: Music for Airports.
Files available online are indicated in the text with Oxford’s
symbol .

www.oup.com/​us/​bea1
Username: Music1
Password: Book5983

The reader is invited to explore the full catalogue of Oxford

Keynotes volumes on the series homepage.
www.oup.com/​us/​oxfordkeynotes
 ACKNOWLEDGMENTS

T his short text has had a lot of friends. The Office of

the Dean in Emory University’s College of Arts and
Sciences enabled me to hire a research assistant, Lilly Levy,
who was invaluable in tracking down interviews, images,
and secondary literature. Joe Benavides also helped me
organize the notes and bibliography, Ben Davis helped with
the index, and Michael Kim helped me locate some images
when deadlines were imminent. Thanks to all.
The Fox Center for Humanistic Inquiry provided me
with time and an office during the academic year of 2015–​
16. It was during this period that my research for the book
began in earnest. A big thank you to Tina, Steve, Amy, and
Colette. Thanks also to the participants in my four-​part,
eight-​hour seminar on Music for Airports, which took place
at the Center during November 2016.
I test-​drove some early thoughts at a meeting of the
American Philosophies Forum. This was a great prod in
the right direction, and comments from other participants
proved useful as the project developed, as did the oppor-
tunity to concretize those remarks in an article, “Turning
 Listening Inside Out,” which appeared in the Journal of
Speculative Philosophy.
Near the close of the project I emailed some questions to
Evan Ziporyn, a founding member of the Bang on a Can
All-​Stars. He was generous with his time and thoughtful.
The tasks (and concerns) of the critic-​theorist and the art-
ist are quite different, and the two often meet in strained
circumstances. (A critic is to art as a pigeon is to statues,
I’ve been told.) Evan, however, seemed genuinely jazzed to
think about Music for Airports, and that was useful and just
plain fun.
Various people and offices at the Woodruff Library,
Emory University, were very helpful along the way. I was at
a loss with regard to finding old articles from rock maga-
zines, and James Steffen, the film studies and media librar-
ian, generously helped me locate key articles that I then
accessed through the excellent Interlibrary Loan office. The
Emory Center for Digital Scholarship also helped me scan
images and prepare files for the companion website. I am
grateful to the several student workers who aided me along
the way.
A PhD in philosophy is poor training for tracking down
images and securing permission to employ them. Everyone
I contacted was unfailingly helpful and generous. As you
come across the images that follow, please hear a “thank
you” to those depicted and/​or their representatives.
Several discussions of genuine merit and insight await
anyone who elects to write on Eno. Those I’ve encountered
share recordings, remarks by Eno, and questions of mutual
concern. Because my audience is principally general and
not academic, my engagement with that scholarship is

xii Acknowledgments
 limited, particularly where disagreements could arise. But
I have benefited from the scholarship, which I’ve noted
throughout. However, I want to acknowledge my grati-
tude beyond those notes, particularly for the writings of
Geeta Dayal, David Sheppard, Cecilia Sun, Eric Tamm,
and David Toop, none of whom I know but all of whom
have proven good company. (You’ll find the titles of their
books alongside others in the section called Additional
Sources for Reading and Listening.) I must also thank
the tireless laborers that maintain two websites: MORE
DARK THAN SHARK and EnoWeb. Each has gathered
numerous interviews that are resources for scholars and
fans alike.
Other support was literally more material. Several
record and CD shops have kept me flush since I first fell
for music around 1980. I name them with gratitude and
pleasure: the Princeton Record Exchange; the House of
Records in Eugene, Oregon; and now several in the greater
Atlanta area—​Criminal Records, Decatur CD, Ella Guru,
and Mojo Vinyl. A good shop curates as well as stocks, and
I’ve been the beneficiary of many top-​flight curators. (Our
neighborhood postman, David Bomar, also brought many
LPs and CDs, and always asked how the book was coming
along, which was much appreciated.)
I’m one whose love of music generated a love for the
kind of equipment that can make it sing. Echo Audio in
Portland, Oregon, has been my dealer for what is almost
twenty years, and I thank them—​particularly Kurt Doslu—​
every time the needle drops or I press play. In particular,
Kurt’s old turntable brought Music for Airports to life in
new and startling ways.

Acknowledgments xiii
 My beloved wife, Hilary Hart, was, as in everything, a
boon companion throughout the writing process, which
occasionally left me distracted, puzzled and puzzling, and
probably for the birds (as opposed to airports). Our mar-
riage is an ongoing joy, and her indulgence was very much
appreciated.
Kevin Karnes has proven a great interlocutor along the
way, whether in response to writing or in conversation.
I probably never would have pursued the project without
his prodding, and it would have been worse off without his
feedback and willingness to hear me riff on some recent
discovery or, as was more often the case, confusion.
Finally, my ear for music changed radically when I began
to make my own with Steven Brence, Jeff Stolle, and John
Capaccio, and then later with Steve, Jeff, John Fenn, and
Ben Saunders. I began to hear so much more, and to hear
choices made (and resisted) in the music of others. And
I got a feel for how sounds present a kind of meaning
that resists translation into discursive prose, which I hope
informs what follows. Furthermore, trying, alongside Jeff
Stolle, to write songs that didn’t embarrass us (or those
who heard them) made me a good deal humbler in the face
of whatever music catches my ear. I can’t thank the lads
enough, Jeff and Steven most of all. They let an untutored
ear and throat into their midst and that reopened a world
I thought I knew.

xiv Acknowledgments
BRIAN ENO’S
Ambient 1: Music
for Airports
 INTRODUCTION
WHITE NOISE, SEMINAL SOUNDS

I’ve decided to turn the word “pretentious” into a compliment.

—​Eno, A Year With Swollen Appendices

I n 1978, Brian Eno released Ambient 1: Music for Airports

on LP and cassette.1 Four tracks grace its two sides: “1/​1,”
“2/​1,” “1/​2,” and “2/​2.” Lyrics are not involved. Instead, each
track organizes clusters of sounds that repeat at irregular
intervals and without any backing rhythms. Not only is
it impossible to sing along, none of the tracks sustain the
attention they initially gather. And yet it remains too inter-
esting to ignore.
An insert provides a miniature manifesto. It explicates
“ambient.” Likening the LP to Muzak, Eno offers Music for
Airports (MFA) as an “atmosphere, or a surrounding influ-
ence: a tint.” The music should “accommodate many lev-
els of attention without enforcing one in particular.”2 This
recalls Darius Milhaud’s characterization of Erik Satie’s
musique d’ameublement, or “musical furniture—​music to be
 F igu r e 0. 1 The front cover of MFA

heard but not listened to.”3 Eno seems to be saying: it could

be that, but it could also be something more. But what?
Unlike Muzak, which was designed to improve produc-
tivity, Eno’s ambient venture “is intended to induce calm
and a space to think,” as the liner notes further state—​an
intriguing suggestion, one you might explore and test by
playing the album as you read.
When MFA appeared, Eno’s name was everywhere.
A darling of the musical press since his time in Roxy Music,
he had since leaving the band released four solo albums,
including Another Green World (1975), which led Charley
Walters of Rolling Stone to announce: “Eno insists on risks,
and that they so consistently pan out is a major triumph.

2 Introduction
 F igu r e 0. 2 The label of a Japanese pressing of MFA, side one

I usually shudder at such a description, but Another Green

World is indeed an important record—​and also a brilliant
one.”4 Eno had also produced albums by Devo and Talking
Heads and collaborated on David Bowie’s Low and Heroes,
albums whose influence quickly spread across a pop scene
split, even fragmented, by the full arrival of punk in 1976.
But MFA was rarely reviewed. Rolling Stone gave it passing
notice without praise. “As aesthetic white noise, Ambient
1: Music for Airports makes for even more dissipated listen-
ing than last year’s similarly unfocused Music for Films.”5
As Eno himself noted in 1996: “Like a lot of the stuff I was
doing at the time, this was regarded by many English music
critics as a kind of arty joke, and they had a lot of fun with

White Noise, Seminal Sounds 3

Another random document with
no related content on Scribd:
the planets, waiting for orders from the home-planets to fire when
ready.
"For the love of Heaven," he pleaded with a secretary to the
Karfiness, "they won't even wait for the ultimatum to elapse. There's
going to be a space-war in two hours if I don't get to see her Serene
Tentaculosity!" The title he bestowed on her was sheer whimsy; he
wasn't half as upset as he was supposed to be. It was all for effect.
He rushed away, distrait by the information that he couldn't possibly
see the Karfiness and aware that the munitions interests of Mars
would by now be rubbing their chelae with glee.
He reached a phone and rang up the Ambassador. "Okay," he
informed him. "Stop short!" The Ambassador, badly overworked and
upset, stopped short with the messages. Venus and Earth were
baffled again, this time because there was nothing to be baffled by.
The strange silence that had fallen on the F. O.'s was alarming in its
implications. The diplomatic mind had already adjusted itself to the
abnormal condition; restoration of normality created almost
unbearable strain. Messages rushed to the Embassy; the
Ambassador left them severely alone and went to bed. From that
moment anybody who touched a transmitter would be held for
treason, he informed his staff. It was as though the Mars Embassy
had been blown out of the ground.
"They are now," brooded Weems, "ready for anything. Let us hope
that Venus hasn't lost her common sense along with her temper."
With that he set himself to the hardest job of all—waiting. He got a
couple of hours of sleep, on the edge of a volcano, not knowing
whether the lined-up Venus fleet would fire on the opposite Earth
fleet before he woke. If he did it would be all over before he really got
started.

Even Weems hadn't imagined how well his plan was taking root.
Back on Earth the whole F. O. had gone yellow, trembling at the gills
lest they should actually have to fight. And it was perfectly obvious
that they would, for when planetary integrity directs no mere
individual might stand in the way.
There was a great dearth of news; there had been for the past few
hours of the crisis. Since that God-awful business from the Mars
Embassy stopped and the entire staff there had—presumably—been
shot in the backs while hard at work fabricating incredible dispatches
there was a mighty and sullen silence over the air, ether and sub-
etheric channels of communication.
On Venus things were pretty bad too. A lot of Earthmen had been
interned and the whole planet was sitting on edge waiting for
something to happen. It did happen, with superb precision after
exactly seven hours of silence and inactivity.
There was a frantic call from—Jupiter! Jupiter claimed that the whole
business was a feint and that the major part of the Earth fleet was
even now descending on the Jovians to pillage and slay.
The official broadcast—not a beam-dispatch—from Jupiter stated
this. Earth promptly denied everything, in a stiff-necked
communique.
Venus grinned out of the corner of its mouth. In an answering
communique she stated that since Venus was invariably to be found
on the side of the underdog the Venus Grand Fleet would depart
immediately for Jupiter to engage the enemy of her good friends, the
Jovians.
Earth, to demonstrate her good faith, withdrew her own fleet from
anywhere near the neighborhood of Jupiter, going clear around to
the other side of the Sun for maneuvers.
Lovers of peace drew great, relieved sighs. The face-to-face had
been broken up. The ultimatum had been forgotten in Earth's
righteous stand that she had not invaded Jupiter or intended to. This
made Venus look and feel silly. This made the crisis collapse as
though it had never been there at all.
And just after the Venus fleet had reported to its home F. O.—this
was three hours after the ultimatum had elapsed without being
noticed by anybody—there were several people in the Earth
Embassy on Mars acting hilariously. There was a Jovian who
gurgled over and over:
"I didn't know it would be this much fun! We would have got into the
game years ago if we'd known."
"And I," said the Ambassador, "have the satisfaction of knowing that
I've given a pretty headache to the best code experts in the system.
And all by the simple expedient of sending a code message that
means just what it says."
"And I," said Weems, upending a glass, "have aided the cause of
peace between the planets. If I can get to the Karfiness and let her
know that she's being played for a sucker by the munitions people—"
"Let it come later," said Dr. Carewe. "I wish I could live another eighty
years to read in the history books. But it really doesn't matter,
because they'll say something like this:
"'Toward the end of this year there arose a crisis between Earth and
Venus, seemingly over matters of trade. It actually reached a point of
ultimatums and reprisals. Fortunately the brilliant, calm and efficient
work of the Hon. Secretary of Recession, Jowett Osgood, saved the
day. He contracted a defensive alliance with Jupiter, the combined
might of the Earth-Jovian fleet crushing any idea of victory that may
have been the goal of the Venusians.'"
Dr. Carewe laughed loud and raucously as she refilled her glass.
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