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Perfect place to take in the stormy sea

Some people meditate while listening to ambient music, which is a topic that merits its own debate. In the beginning of their meditation practice, many people are taken aback by how much mental chatter or noise is generated by the monkey mind, which is the default waking state of human consciousness. Attempts to stifle the never-ending stream of thoughts are not only futile, but can also be detrimental because they add an additional layer of mental activity to the already overloaded system.

The ship stateroom in Halong Bay, Vietnam, is the perfect place to take in the stormy seas. Let sea storm with relaxing rain sounds storm at sea ambience help you fall asleep and transport you away to a realm of mental and physical tranquility. Check out the following video:

Some people find that listening to quiet, relaxing music can help to calm a hyperactive mind while also calming the body and allowing spaciousness without the need for any special skill or training. To be honest, a lot of the music that is marketed as relaxation music is insipid and saccharine, and it certainly doesn’t help me relax. For a more discerning listener, the aesthetic merit of “relaxation” music should be a consideration for selection. I realize I’m probably being very judgmental here, but there is a distinct difference between “mindful” and mindless music, in my opinion. While department store kiosks with harp and beach sounds may be appealing to the people, I have yet to discover anything substantive about these auditory confections; there are many better options for creating an environment favorable to a calm and supple mind, which I will discuss below. Ambient composers can manipulate and place sounds freely in the stereo field since they are not restricted by the necessity to spatially depict a virtual performing ensemble while mixing in the studio.

While in other musical genres, when the mix may be adjusted, these aspects become a part of the composition, with electronic music, the mix is more of an enhancement or special effect than a compositional characteristic. Some ambient artists don’t even distinguish between the mixing process and the compositional process at all. I, for one, prefer to mix while I’m working because the dynamics, effects, and placement in the stereo field are all important aspects of my compositional process. The use of “surround sound” may be preferred by certain listeners, while it is difficult to locate much music that has been properly encoded for this format. Surround sound has not yet gained widespread acceptance in the commercial music listening market for serious music listening. This is regrettable because, in addition to the availability of real 3D sound reproduction, the 24-bit DVD surround format provides superior clarity and a broader practical dynamic range than other surround formats. While commercial surround sound setups are common in home entertainment centers, they are typically employed for movie watching rather than music listening.

Only a small amount of music has been specifically encoded for surround systems; the most of it has been film scores, which were already encoded for surround in the first place. Within the category of ambient music, there is a vast variety in style, ranging from New Age space music to very dark, industrial noise-oriented music, and everything in between. I make an effort to taste as much as I can, learning from and appreciating the diversity of this developing genre as much as I possibly can. The prospect of becoming a part of this still-emerging format, both as a composer and as a listener, is enthralling. When it comes to deciding where to direct one’s attention during immersive listening, effective ambient music provides a plethora of options. Unless the music is heavily influenced by drone, there will not be much harmonic movement, therefore the ear will be more likely to become immersed in texture and atmosphere. Drones, which are typically composed of either a primary tonic tone or a root and fifth combined, serve to anchor a piece and serve as a backdrop for the tension and release of other tones, which alternately pull away from the drone in dissonance or draw back to it in consonance as they pull away from the drone in dissonance. Melodic and rhythmic aspects are both optional features in ambient music, but when they are present, they tend to command the listener’s aural attention. Because melodic phrases are like musical sentences with a beginning, middle, and end and because rhythms divide time into periodic units—they place greater emphasis on time than on space.