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Background music refers to a mode of musical performance in which the music is not intended to be a primary focus of potential listeners, but its content, character, and volume level are deliberately chosen to affect behavioral and emotional responses in humans such a concentration, relaxation, distraction, and excitement. Listeners are uniquely subject to background music with no control over its volume and content. The range of responses created are of great variety, and even opposite, depending on numerous factors such as, setting, culture, audience, and even time of day. Background music is commonly played where there is no audience at all, such as empty hallways and restrooms and fitting rooms. It is also used in artificial space, such as music played while on hold during a telephone call, and virtual space, as in the ambient sounds or thematic music in massively multiplayer online role-playing games. It is typically played at low volumes from multiple small speakers distributing the music across broad public spaces. The widespread use of background music in offices, restaurants, and stores began with the founding of Muzak in the 1930s and was characterized by repetition and simple musical arrangements. Its use has grown worldwide and today incorporates the findings of psychological research relating to consumer behavior in retail environments, employee productivity, and workplace satisfaction. Due to the growing variety of settings (from doctors offices to airports), many styles of music are utilized as background music. Because the aim of background music is passive listening, vocals, commercial interruptions, and complexity are typically avoided. In spite of the international distribution common to syndicated background music artists, it is often associated with artistic failure and a lack of musical talent in the entertainment industry. There are composers who write specifically
for music syndication services such as Dynamic Media and Mood Media, successors of Muzak, and MTI Digital. Multiple studies have correlated the presence of background music with increased spending in retail establishments.[1] Contents 1 Types 1.1 Incidental music 1.2 Furniture music 1.3 Elevator music 1.4 Video game and blog music 1.5 Group Fitness Music 1.6 Internet delivered background music 2 Background Non-music 2.1 Business audio 3 History 3.1 Historical devices 4 See also 5 References Types Incidental music Main article: Incidental music Incidental music is music in a play, radio/TV program or some other form that is not primarily musical. It seeks to add atmosphere to the action and evoke or reinforce emotions being portrayed. It can be dated back at least as far as Greek drama. A number of classical composers have written incidental music for various plays. It can range from simple drum sequences or bass notes to complex orchestral arrangements

The term furniture music was coined by Erik Satie in 1917. It fell into disuse when the composer died a few years later, and the genre was revived several decades later. Typical of furniture music are short musical passages, with an indefinite number of repeats. Elevator music Main article: Muzak Elevator music (also Muzak, piped music, or lift music) is a more general term indicating music that is played in rooms where many people come together (that is, with no intention whatsoever to listen to music), and during telephone calls when placed on hold. There is a specific sound associated with elevator music that usually involves 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 like Franck Pourcel and James Last, peaking in popularity around the 1970s. The term can also be used for kinds of easy listening,[2] piano solo, jazz or middle of the road music, or what are known as "beautiful music" radio stations. 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 Rise of the Triad: Dark War, and Earthworm Jim.[original research?] Some people can be deeply annoyed by piped music, and even find it spoils their enjoyment in recreation or drives them out of shops: Eight out of 10 people have left an establishment early because it was too noisy.[3] There are a number of societies, such as Pipedown,[3] that are dedicated to reducing its extent and intrusiveness. 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. Video game and blog music Background music (often abbreviated BGM) is the music in video games (sometimes written VGM) and music in websites. Group Fitness Music With the proliferation of boutique fitness classes in the late 2010s, a new emphasis is being placed on properly licensing music to be used by instructors in a group fitness environment. As it is more interactive than traditional background music, the licensing and cost structures differ. Internet delivered background music In recent years the proliferation of Internet-delivered background music by such companies as Trusonic has gained traction. This allows the retailer to instantly update music and messages which are deployed at the store level as opposed to using older compact disc and satellite technologies.[citation needed] Background Non-music Business audio Business audio refers to a type of service that provides audio content that is licensed for use in a commercial setting.[citation needed] Business news can be one example. The term background music is another example. Providers of the latter include Music Choice (abbreviated as MC) is an American television music service that digitally broadcasts audio-based music channels and video-related content to cable television providers in the United States. Music Choice reaches 65 million households in North America via linear television channels and tv-on-demand services.[3] Music Choice is distributed nationwide by Comcast Xfinity, Charter Spectrum, Cox Communications, Verizon Fios, DirecTV and many other. Similar broadcast music services include, Stingray Music, Sirius XM, Xite, and SonicTap. Contents 1 History 2 Platforms 2.1 Linear Music Channels 2.2 Music Choice On Demand 2.3 TV Everywhere App 2.4 Music Choice Enhanced TV 2.5 On-screen information 2.6 SWRV 3 Legal Challenges (2016 - Present) 3.1 Music Choice v. Stingray 3.2 SoundExchange v. Music Choice 4 See also 5 References 6 External links History Early development Music Choice (formerly known as Digital Cable Radio) was the first digital audio broadcast service in the world and, under its founder and CEO David Del Beccaro,[4][5][6][7] launched in test markets circa 1987. From its inception as an eight-channel audio service from Motorola's cable group, Music Choice evolved into a multi-platform interactive music network based in New York City that reaches millions of consumers across the country. Music Choice is a partnership owned by a consortium, including Comcast, Charter Communications through its acquisition of Time Warner Cable in May 2016, Cox Communications, EMI Music, Microsoft, Motorola/Arris, and Sony Corporation of America. Music Choice launched its first 24-hour interactive music video cable channel, SWRV, in February 2010.[8] Music Choice is the first ad-supported video on demand network to be measured by Nielsen Media Research's video on demand measurement service. Audience demographics are based on Nielsen's national People Meter.[9] Platforms Linear Music Channels Music Choice currently offers over 50 linear channels of various music radio formats through digital cable providers. The number of channels available varies by provider. Music Choice On Demand Music Choice offers free video on demand content, including hundreds of music videos from various recording artists. Music Choice On Demand also features exclusive original programming and interviews with popular artists. TV Everywhere App Beginning in July 2008, Music Choice released iOS and Android apps. Music Choice markets the apps as free, but requires a paid TV subscription with Television Everywhere (TVE) credentials. Music Choice Enhanced TV The Music Choice Enhanced TV App (ETV) is the next generation of its popular music service offering a unified experience that allows consumers to access music content within one simple interface. ETV is an IPTV music service specifically designed for the television platform and mirrors the Music Choice authenticated experience available on iOS, Android, and Web-connected devices. On-screen information Each Music Choice channel is distributed in freeze frame television, with still slides appearing on-screen as the music plays. These slides display banner advertising (the only advertising on the service, as the audio programming airs commercial-free) along with a looping carousel of “Did You Know?” factoids paired with file photos of the artists in question. In the past, the on-screen trivia factoids have been criticized by some as featuring facts that are overtly depressing or deal with death, as a May 2017 HuffPost story cited a number of factoids recalling various illnesses, homicides, and suicides of various musical artists and their close family, friends and partners over an evening of the network's programming.[10] SWRV In February 2010, Music Choice launched SWRV (pronounced 'swerve'), a 24-hour interactive music video cable channel. The network struggled to gain momentum and was eventually rebranded to Music Choice Play on October 15, 2013. The network is now defunct.[when?] Legal Challenges (2016 - Present) Music Choice v. Stingray In June 2016, Music Choice filed a lawsuit against Stingray Digital over patent infringement. The lawsuit occurred one month following the announcement that Comcast, part owner of Music Choice, had secured a deal to expand their music offering with thriving competitor, Stingray Digital.[11] Music Choice drew criticism with the lawsuit; Stingray responded: “Given the significant inroads that Stingray has made in the U.S. market [Comcast expansion] with its industry-changing technology, Stingray believes that Music Choice’s complaint is without merit and primarily motivated by competitive concerns rather than a desire to protect its intellectual property.” Music Choice's lawsuit against Stingray disputed a number of U.S. Patents pertaining to the on screen formatting of Stingray Digital's music channels. On August 29, 2016, Stingray countersued Music Choice calling the patent lawsuit a "smear campaign". Music Modernization Act (MMA) v. Music Choice In 2018, A2IM CEO Richard James Burgess accused Music Choice of trying to solicit artist and label support to deceive Congress into reducing artists royalties paid by Music Choice.[12] The criticism came as Music Choice publicly opposed the passage of the Music Modernization Act (MMA), which ultimately was signed into law on October 11, 2018.[13][circular reference] SoundExchange v. Music Choice On April 10, 2019, SoundExchange filed a lawsuit against Music Choice following an audit of Music Choice's royalty statements. SoundExchange added–– “Music Choice’s actions reflect a persistent effort to avoid paying royalties for its use of protected sound recordings. Its creative accounting has deprived creators out of the royalties they are due and is inconsistent with the Copyright Royalty Board’s regulations. We hope this action will compel Music Choice to pay the royalties that are due to music creators and to change its practices moving forward.” The action, which comes after an audit of Music Choice's royalty statements, reflects SoundExchange's commitment to protect the value of music. The commitment includes participation in rate proceedings, audits, and, if necessary, legal action to ensure that music creators are paid fairly for their work

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