David Owen in The New Yorker:
If you blindfolded Dana McKelvey and led her into a retail store, a restaurant, a doctor’s office, or a bank, she could tell fairly quickly whether the music playing in the background was Muzak. You may think that you would be able to tell, too, but unless your job is creating Muzak programs, as McKelvey’s is, you probably wouldn’t. The syrupy orchestral “elevator music” that most people associate with the company scarcely exists anymore. Muzak sells about a hundred prepackaged programs and several hundred customized ones, and only one—“Environmental”—truly fits the stereotype. It consists of “contemporary instrumental versions of popular songs,” and it is no longer terribly popular anywhere, except in Japan. (“The Japanese think they love it, but they actually don’t,” a former Muzak executive told me. “They’ll get over it soon.”) All of Muzak’s other programs are drawn from the company’s huge digital inventory, called the Well, which contains more than 1.5 million commercially recorded songs, representing dozens of genres and subgenres—acid jazz, heavy metal, shag, neo-soul, contemporary Italian—and is growing at the rate of twenty thousand songs a month.