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Drone music
Drone music,〔〔 drone-based music,〔"Drone-based music" is used for instance in 1995 (Paul Griffiths, ''Modern music and after: Directions Since 1945'', Oxford University Press, 1995, ISBN 0-19-816511-0, p. (209 ): "Young founded his own performing group, the Theatre of Eternal Music, to give performances of highly repetitive, drone-based music"), or in Cow & Warner 2004 (cf. cited quote of p. 301).〕 drone ambient,〔"Drone ambient" is used for instance on Allmusic, such as in the review of ''Soundtrack for the Aquarium'' ("representative of the drone ambient side of his work"). or on PopMatters ("experimental no-man’s-lands like ambient drone"(), "seminal works of ambient drone"()).〕 or simply drone, is a minimalist musical genre〔 that emphasizes the use of sustained or repeated sounds, notes, or tone-clusters – called drones. It is typically characterized by lengthy audio programs with relatively slight harmonic variations throughout each piece compared to other musics. La Monte Young, one of its 1960s originators, defined it in 2000 as "the sustained tone branch of minimalism".〔
==Overview==
Music which contains drones and is rhythmically still or very slow, called "drone music",〔For information on early and other uses of drones in music around the world, see for example (American Musicological Society, ''JAMS'' (''Journal of the American Musicological Society''), 1959, p. (255 ): "Remarks such as those on drone effects produced by double pipes with an unequal number of holes provoke thoughts about the mystery of drone music in antiquity and about primitive polyphony.") or (Barry S. Brook & al., ''Perspectives in Musicology'', W. W. Norton, 1972, ISBN 0-393-02142-4, p. (85 ): "My third example of the force of tradition concerns another large problem, the persistence of drone music from the Middle Ages to the present day.")〕 can be found in many parts of the world, including bagpipe traditions, among them Scottish pibroch piping; didgeridoo music in Australia, South Indian classical Carnatic music and Hindustani classical music (both of which are accompanied almost invariably by the tambura, a plucked, four-string instrument which is only capable of playing a drone); the sustained tones found in the Japanese gagaku〔A precedent directly cited by La Monte Young, see his quote below (Zuckerman 2002).〕 classical tradition; possibly (disputed) in pre-polyphonic organum vocal music of late medieval Europe;〔Speculated in 1988 by French musicologist Marcel Pérès of Ensemble Organum (as summarized (here )) but disputed in a master thesis (Robert Howe, "The Performance of Mediæval Music in Contemporary Culture", (PDF file ), p. 6-8)〕 and the Byzantine chant's ison (or drone-singing, attested after the fifteenth century).〔"there is no clear testimony to the use of the ison until after the fifteenth century" (in St. Anthony's Monastery, "Introduction to Byzantine Chant", p. (1 )). Elsewhere is specified: "The earliest notification of the custom appears to have been made in 1584 by the German traveller, Martin Crusius." (in Dimitri E. Conomos (Oxford University), ("A Brief Survey of the History of Byzantine and Post-Byzantine Chant" ), section "7. Post-Byzantine Era")〕 Repetition of tones, supposed to be in imitation of bagpipes,〔Rosamond E. M. Harding, ''Origins of Musical Time and Expression'', Oxford University Press, 1938, Part 2 "Studies in the imitation of musical instruments by other instruments and by voices", p. (42 )-(43 ): "IMITATION OF BAGPIPES: Bagpipes may be called a world-instrument, since they are found in most parts of the world. They are also of considerable antiquity, being known to the ancient Egyptians. () There are three characteristics of Bagpipe imitations all three of which may be present at the same time and any one of which is sufficient to characterize Bagpipe influence, if not a direct imitation. The first is the drone, usually placed in the bass, and consisting of one note alone or of two or three notes played together. A drone consisting of two adjacent notes sounded alternately is also typical. Dr. Naylor, in his work ''An Elizabethan Virginal Book'', has drawn attention to the fact that many early English melodies are founded on a drone consisting of two alternating notes, and that the Northumbrian Bagpipe had alternative drones and an arrangement for changing the note of the drones."〕〔George Grove, Stanley Sadie, ''The New Grove Dictionary of Music and Musicians'', Macmillan Publishers, 1st ed., 1980 (ISBN 0-333-23111-2), vol. 7 (Fuchs to Gyuzelev), "André-Ernest-Modeste Grétry", p. (708 ): "in ''L'épreuve villageoise'', where the various folk elements - couplet form, simplicity of style, straightforward rhythm, drone bass in imitation of bagpipes - combine to express at once ingenuous coquetry and sincerity."〕〔Leroy Ostransky, ''Perspectives on Music'', Prentice-Hall, 1963, p. (141 ): "GAVOTTE. A dance consisting of two lively strains in 4/4 time, usually with an upbeat of two quarter-notes. It sometimes alternates with a musette, which is a gavotte over a drone bass, an imitation of bagpipes."〕〔David Wyn Jones, ''Music in Eighteenth-Century Austria'', Cambridge University Press, 2006, ISBN 0-521-02859-0, p. (117 ): "Table 5.1 - Pastoral traits in eighteenth-century masses () II - Harmony: A) Drones in imitation of bagpipes"〕 is found in a wide variety of genres and musical forms.
The modern genre also called drone music〔Early use of "drone music" as a non-ethnic, new or experimental genre can be found such as in 1974 (Michael Nyman, ''Experimental Music: Cage and Beyond'', Studio Vista, 1974, ISBN 0-02-871200-5, p. (20 ): "() LaMonte Young's drone music ()") or again 1974 (cf. "drone-music" in the Hitchcock 1974 quote about Riley)〕〔"drone music" is also used in ''The Cambridge History of Twentieth-century Music'' (cf. Cook & Pople 2004, p. (551 ), about the Theatre of Eternal Music: "his drone music () Young went on to develop this early drone music into intricate and extended compositions") or on Pitchfork Media ("During that time I wanted my drone music to have as prickly an edge as possible"()).〕 (called "dronology" by some books, labels and stores,〔"Dronology" is used for instance as a genre tag at Aquarius Records (who claim they coined it ()), Epitonic.com (), and Last.fm().〕 to differentiate it from ethnic drone-based music) is often applied to artists who have allied themselves closely with underground music and the post-rock or experimental music genres.〔Cox & Warner 2004, p. (359 ) (in "Post-Rock" by Simon Reynolds): "The Velvets melded folkadelic songcraft with a wall-of-noise aesthetic that was half Phil Spector, half La Monte Young—and thereby invented dronology, a term that loosely describes 50 per cent of today's post-rock activity." (about the Velvet Underground and post-rock)〕 Drone music also fits into the genres of found sound, minimalist music,〔Cox & Warner 2004, p. (301 ) (in "Thankless Attempts at a Definition of Minimalism" by Kyle Gann): "Certainly many of the most famous minimalist pieces relied on a motoric 8th-note beat, although there were also several composers like Young and Niblock interested in drones with no beat at all. () Perhaps “steady-beat-minimalism” is a criterion that could divide the minimalist repertoire into two mutually exclusive bodies of music, pulse-based music versus drone-based music."〕 dark ambient, drone doom/drone metal, and noise music.
Pitchfork Media and Allmusic journalist Mark Richardson defined it thus: "The vanishing-point music created by drone elders Phill Niblock and, especially, LaMonte Young is what happens when a fixation on held tones reaches a tipping point. Timbre is reduced to either a single clear instrument or a sine wave, silence disappears completely, and the base-level interaction between small clusters of "pure" tone becomes the music's content. This kind of work takes what typically helps us to distinguish "music" from "sound," discards nearly all of it, and then starts over again from scratch."〔Mark Richardson, ("Stars of the Lid: And Their Refinement of the Decline" ) review, April 3, 2007, www.pitchforkmedia.com〕
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