Muzak – prostorna muzika

Abstract

pikurejski filozof Filodem još u antici (I vek), oponirajući pitagorejcima i njihovom etičkom tumačenju muzike, anticipira prostornost muzike, postavljajući je u funkciju zabave, odnosno njenog zvučnog background-a. Sedamnaest vekova kasnije, Kant pripisuje muzici mane urbaniteta, čime otvara problem prostornog širenja (zagađenja) muzike. Funkcija muzike kao pozadine zabave, ali i kao sastavnog dela važnih svečanosti u životu pojedinaca, zajednica i država, u XX veku dobija novi ekonomsko-marketinški format. Nove tehnologije (počev od telharmonijuma, magnetnih nosača i radija) proširile su zvučni proctor, koji je osloboĎen od potrebe za živim izvoĎačima (nešto što se već desilo sa pojavom mehaničkih instrumenata u XVIII i XIX veku). Marketing eksploatiše moć masovne kulture, da bi popularnu muziku postavio u funkciju prodaje proizvoda i usluga. Tako je rođen koncept muzak, sinonim za komercijalno produciranu background muziku svih vrsta. Ovaj trend prostorne muzike se dalje razvija pojavom ambijentalne muzike, i na komercijalnom i na umetničkom nivou, i dostiže krajnje granice u savremenoj elektronskoj muzici, koja snima različite prostorne ambijente (priroda, zvuk grada), pod pretpostavkom da su oni kreativni i neponovljivi. / In the 1st century A.D. Epicurean philosopher Philodemus, opposing Pythagoreans and their ethical interpretation of music, anticipated the question of music space by giving it a function of entertainment, i.e. creation of specific sound background. Seventeen centuries later, Kant attributed the flaws of urbanity to music, thus raising the problem of spatial spread (contamination) of music. The function of music as a background entertainment and a constituent part of important individual, communal and state events, acquired an economic-marketing meaning in the 20th century. New technologies (telharmonium, magnetic carriers and radio) widened the sound space, liberating it from the need of live performance (something that already occurred in the area of mechanical instruments in the 18th and 19th centuries). Marketing exploits the power of mass culture using popular music to improve the sale of products and services. Consequently, the concept of muzak was born, as a synonym for commercially produced background music of all genres. Further development of spatial music includes the introduction of ambient music, both on commercial and artistic level. It reached its boundaries in the contemporary electronic music recordings of various sound environments (natural and urban soundscapes), under the assumption that they are creative and unique.