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Themesicon: navigation pathSound and Imageicon: navigation pathAudiovisions
Mood-Song (unbekannt)

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cover the noise and to raise the morale of the workers, which would ultimately increase profits. [25] Empirical studies soon verified that workers produce more—and consumers buy more—when background music is played. Consequently, the attempt begun in 1922 by General Owen Squiers to specifically market the functional value of broadcasted music was successful: He began transmitting gramophone music via telephone lines into restaurants and offices. Since then, Squiers' company «Muzak,» [26] whose name was to become a synonym for functional background music, has come to line countless locations. Background music lures clientele into boutiques, and it lends more calm to the candlelight in a restaurant and more tension to the red light in the world of prostitutes and pimps.

The so-called ‹Mood-Song,› which was distributed on record in countless versions in the 1950s and 1960s, was, like background music, also based on the discrete arrangements of popular hits: [27] Recordings such as «Music to Work or Study by,» «Music to watch Girls by,» «Music to Read James Bond by,» or simply «Music to Live by» were aimed at the musical lining of special


situations, whose visual ambience was depicted on the respective record cover.

Brian Eno's idea for ‹ambient music› examined what had since become the ubiquitous phenomenon of lining an otherwise primarily visually marked experience of the world (see below) with music. [28] Installations such as «Generative Roomscape 1» (1996) treat sound and image equally: Both of them are interpreted as atmospheric arrangements that complement each other without confirming the tendency towards the hierarchical subordination of the musical level.

The Soundtrack in Film and in Interactive Media

In film, image and sound come together to form a media-technical construct. Movements in the image and of the image frame itself as well as the assembly of these images enter into complex relationships with the spoken language, music, and noises. While film music exhibited advanced methods of reinforcing narration and the aesthetic effect of the images soon after sound film was established, [29] for a long time sound abided in the subordinate function of reflecting the events visible in the image: «see a dog, hear a dog,» so

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