Free Download Of Elevator Music
Amjan Bouchard
Elevator music (also known as Muzak, piped music, or lift music) is a type of background music played in elevators, in rooms where many people come together for reasons other than listening to music, and during telephone calls when placed on hold. There is no specific sound associated with elevator music, but it usually involves simple instrumental themes from "soft" popular music, or "light" classical music being performed by slow strings. This type of music was produced, for instance, by the Mantovani Orchestra, and conductors such as Franck Pourcel and James Last, peaking in popularity around the 1970s.
This style of music is sometimes used to comedic effect in mass media such as film, where intense or dramatic scenes may be interrupted or interspersed with such anodyne music while characters use an elevator. Some video games have used music similarly: Metal Gear Solid 4 where a few elevator music-themed tracks are accessible on the in-game iPod, as well as System Shock, Rise of the Triad: Dark War, GoldenEye 007, Mass Effect, and Earthworm Jim.[original research?]
There are a number of societies, such as Pipedown,[4] that are dedicated to reducing the extent and intrusiveness of piped music. This campaign group proposes that some people can be deeply annoyed by piped music, and even find it spoils their enjoyment in recreation or drives them out of shops. They suggest that eight out of 10 people have left an establishment early because it was too noisy.[4] The Good Pub Guide 2017 called for a ban on piped music in pubs, already the case in houses managed by the Samuel Smith Brewery.
Elevator music versus rock: I have read very little Murakami be he is obviously taken by these sorts of opposition. In one of his short stories he sets Julio Iglesias against Willie Nelson. Strange because in real life they did a duet together!
It's campy, it's cool, empty, intrusive, trite, and treacly. It's Big Brother singing. Call it what you will -- elevator music, Moodsong easy listening, or Muzak . For a musical genre that was supposed to offend no one, it has a lot of enemies.
Musical cognoscenti decry its insipid content; regular folk -- if they notice -- bemoan its pervasiveness; while hipsters and campsters celebrate its retro chic. Mindful of the many voices, Joseph Lanza's Elevator Music sings seriously, with tongue in cheek, the praises of this venerable American institution.
Lanza addresses the criticisms of elites who say that Muzak and its ilk are dehumanized, vapid, or cheesy. These reactions, he argues, are based more on cultural prejudices than honest musical appraisal.
Says Lanza, today's so-called mood music is the inheritor of a long tradition of mood-altering music stretching back to the ancients; Nero's fiddle and the sirens of Odysseus being two famous examples. Contemporary atmospheric music, Lanza argues, not only serves the same purpose, it is also the inevitable background for our media-dominated age.
One of Lanza's premises, to quote Mark Twain, is that this music is "better than it sounds." "This book will have succeeded in its purpose," he writes, "if I can help efface...the distinction between one person's elevator music and another's prized recording."
Joseph Lanza is an author, producer, and music historian. His most recent book is Russ Columbo and the Crooner Mystique.
"Lanza takes background music seriously as both music and social utility. In doing so, he's written one of the few pop-history books that won't put you to sleep - not to mention the only one that dares to probe the very real connections between shopping-mall music and Devo."
--Entertainment Weekly
"Snobby musicologists ignore this fascinating topic, but I learned a lot while being well-entertained by Lanza's delightful book."
---Wendy Carlos, composer, soundtracks for "A Clockwork Orange" and "The Shining"
In my dorms at college while riding the elevators they seemed to have been lacking something. I eventually figured out it was cheesy elevator music. So my plan is to wire a speaker to a raspberry pi zero and load it full of music and put it in a project box mounted in the elevator. It would be easiest if it could run off a 9v battery but I don't know if the pi can handle that. Also what would run times be like? Thanks
The easiest and probably coolest would be to find some cassette tape player with a speaker built in and mechanical buttons so that it will automatically play each time it's turned on... then you could have a small circuit board that would turn on the player when the sensor detects either elevator moving up or down (motion sensor or vibration sensor) or that the elevator lights turn on (light sensor)
After all percussion instruments were laid out, I added electric bass in playing a simple bass line following the root and 5th notes of each chord in the progression. I then decided to add a vibraphone to achieve that typical cheesy elevator music sound.
One night, while leaving the SAB, Connor and Murph had an idea. They were going to see if they could strip down to their underwear and switch clothes by the time the elevator reached the first floor.
Are you using PC, or Mac? If so, then you can download Soundtrack Editor Forked, and find some new music to replace the VAB. May I suggest the excellent Soundtrack Editor Forked? You can add your own music to replace the VAB music.
Kasey Knudsen is a San Francisco-based saxophonist, composer, and educator and leader of the KK Group, a septet focusing on original music and arrangements. She also co-leads The Permanent Wave Ensemble, an octet dedicated to performing and arranging the music of Carla Bley; The RW3 Trio along with bay area drummer Jon Arkin; and The Holly Martins with vocalist Lorin Benedict and guitarist Eric Vogler.
Lumpy is a gifted drummer performing in his own band and others in the
thriving underground Oakland music scene. He is currently residing in
Northern California. Lumpy appears on both Throttle Elevator Music and Larry Coryell's 'The Lift".
Matt Montgomery plays the bass, writes music, and plays piano/keyboards. He has performed and/or recorded with Faye Carol, Calvin Keys, Larry Coryell, Mark Levine, Phil Ranelin, singer/songwriters Cass McCombs, Greg Ashley, Adam Stephens (of Two Gallants), Grammy-winning producer Joe Chiccarelli, and many more.
Ross Howe is a Bay Area guitar player and music educator. He performs with several gypsy jazz ensembles in and around the San Francisco Bay Area but mainly leads his own band The Yacht Club of Paris. His playing incorporates elements of the classical tradition with the vocabulary of modern jazz. Ross was named "Jazz in the Neighborhoods "Rising Star" in 2015.
Just started playing this today after about 8 months of doing one small item every few weeks and quiting. I was in the elevator and one of the songs that plays is REALLY familliar, but I cant think of what it is. Anyone know if the songs are actualy songs or just composed for the game?
The Pacific Northwest is renowned for being the geographical base of hard-rocking music scenes that have produced musicians ranging from the garage-punk pioneers the Sonics to acid-rock hero Jimi Hendrix to grunge gods like Nirvana. It seems ironic, then, that Seattle has for decades also been the global production center of what the industry initially called "background music" and later, "functional music," "business music," and finally "foreground music." In essence, foreground music is scientifically designed and programmed mood-controlling music -- often of the purposefully bland, supposedly soothing, easy-listening variety -- which purportedly has positive influences on worker productivity and consumer spending. Typically heard as telephone "on-hold" music and in shopping malls, airports, and dentist waiting rooms, such music eventually provoked a mild cultural backlash, with detractors disparaging it as bloodless, mind-numbing "elevator music." Nevertheless, Seattle became the home of four distinct, yet partially intertwined, corporations that successfully supplied countless clients with carefully curated music selections: Yesco Foreground Music, Audio Environments Inc. (AEI), Environmental Music Service Inc. (EMS), and a company whose very name became the generic slang term for its own product -- Muzak.
The saga behind the emergence of Muzak began with a former U.S. Army major general, George Owen Squier (1865-1934), a Washington D.C.-based inventor who garnered admiration in scientific circles. Among his innovations was a device that kick-started the development of high-speed telegraphy in the pre-telephone years. Then, while heading the U.S. Signal Corps during World War I, Squier invented a means of transmitting music from phonograph records long-distance via electrical power lines.
In 1922 Squier patented his invention and quickly licensed it to a giant utilities firm, the North American Company. The company also supported Squier's other enterprise, Wired Radio, Inc., which soon began tests and finally, in 1934, brought its service to market under an entirely new corporate brand. It was Squier who -- in a move reminiscent of how the Victrola phonograph company was named to capitalize on the ultra-successful Coca Cola brand name -- combined the word music with the camera/film company's Kodak, and came up with "Muzak."
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