Ambient Metal – A Phenomenological Approach to the Psychology of Ambient Music. A fundamental aspect of music perception is recognition of a melody in different keys; each note's meaning depends heavily on its context. Ambient metal is a serious blend of melody disguised as noise. The symphony that is Soviet Christ by Ulan-Ude Exemplifies the fine line between the brains innate recognition of music versus the learned aspects of language that are much more left hemisphere cognitive constructs First recognised in the 1970s this formalisation of a neutral psychological state via performance, has produced an ebb and flow of polarised opinions. The debate continues yet the tempering of the psychology and the effects of exposure are increasingly clear.
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| - Ambient Metal – A Phenomenological Approach to the Psychology of Ambient Music. A fundamental aspect of music perception is recognition of a melody in different keys; each note's meaning depends heavily on its context. Ambient metal is a serious blend of melody disguised as noise. The symphony that is Soviet Christ by Ulan-Ude Exemplifies the fine line between the brains innate recognition of music versus the learned aspects of language that are much more left hemisphere cognitive constructs First recognised in the 1970s this formalisation of a neutral psychological state via performance, has produced an ebb and flow of polarised opinions. The debate continues yet the tempering of the psychology and the effects of exposure are increasingly clear.
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| - Ambient Metal – A Phenomenological Approach to the Psychology of Ambient Music. A fundamental aspect of music perception is recognition of a melody in different keys; each note's meaning depends heavily on its context. Ambient metal is a serious blend of melody disguised as noise. The symphony that is Soviet Christ by Ulan-Ude Exemplifies the fine line between the brains innate recognition of music versus the learned aspects of language that are much more left hemisphere cognitive constructs First recognised in the 1970s this formalisation of a neutral psychological state via performance, has produced an ebb and flow of polarised opinions. The debate continues yet the tempering of the psychology and the effects of exposure are increasingly clear. The cultural specifics of this type of music have been a cornerstone of the growing claims for its validity. The premise being that to truly gain the status of music proper the genre would need to elicit the same effects on pre industrial societies as it does in its home of Eastern Europe. So is ambient metal a temporary blip associated with the zeitgeist of the bleak grey concrete walls typified by the utilitarian existence post 1946? Despite the genesis of this music being some 3 decades in the making, clearly the answer is no! Weinberger’s studies of Ambient Metal on aboriginal cultures in both Africa and Australasia show with great clarity that the psychological effects are identical to those found in post apocalyptical East European urban neophytes Neurons learn to prioritize some sounds. When a tone becomes important--because it signals food, for instance--the cells' response to that tone increases. This finding revolutionized thinking about brain organization by showing that learning is not a "higher" brain function but rather one that occurs in the sensory systems themselves. Some of the stranger effects of Ambient Metal have been near epileptic states that mimic the effects of designer drugs such as EPO and Ecstasy. In other tests female participants due to their innate structure achieved orgasm on several occasions. Male responses were more akin to adrenal release such as that in the fight or flight responses. It should be stressed however that this is not an abnormal state. As a phenomena Ambient Metal is no more or less different to Brahms or Shubert in that it creates through its director (the term composer is now not considered appt due to recent interpretations in psychoacoustics) an image or scene that pre exists in the psyche. There is creation from existing acoustic vibrations, a link to sense memories that is genetic and autonomic. A new state has been recognised as ambiosis and is defined by the meditative consciousness similar to that of the Rinboche Monks or Hindu Yogis during their early stages of meditation. The Taoist principle of “being and nothingness” leads the listener to a higher level of “oneness”. So to in Fanz Falvels, “Grin Der Suite” we are levelled by a complete nothingness concept that pervades the deeper recesses of the sub conscious bordering on the Id. This again is culturally significant in that northern hemisphere centric principles are being experienced in a global construct. We find that Ambient Metal is now recovering from its post Berlin Wall malaise and is again finding its niche in the clubs of Eastern Europe. This is all despite the growing affluence in that region and the associated devolution of society. Ambient Metal is reaching the campuses of the US where clubs are being formed to as appreciation societies. Perhaps more compelling is the notion of the art form as therapy. The jury is out on this concept yet further research is already under way.
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