Space music - Knowledge (XXG)

570:, who became a colleague of Beyer in Cologne in 1953, used the expression "space music" in this sense when describing his early development as a composer: "The first revolution occurred from 1952/53 as musique concrète, electronic tape music, and space music, entailing composition with transformers, generators, modulators, magnetophones, etc., the integration of all concrete and abstract (synthetic) possibilities within sound (also all noises) and the controlled projection of sound in space." In the sense meant here, he stated in 1967, "Several have commented that my electronic music sounds 'like on a different star', or 'like in outer space.' Many have said that when hearing this music, they have sensations as if flying at an infinitely high speed, and then again, as if immobile in an immense space." A number of Stockhausen's later compositions (not all of them electronic music) take outer space as their theme: 1934:, Stockhausen said this about the electronic music experience: '... Many listeners have projected that strange new music which they experienced—especially in the realm of electronic music—into extraterrestrial space. Even though they are not familiar with it through human experience, they identify it with the fantastic dream world. Several have commented that my electronic music sounds "like on a different star," or "like in outer space". Many have said that when hearing this music, they have sensations as if flying at an infinitely high speed, and then again, as if immobile in an immense space. Thus, extreme words are employed to describe such experience, which are not "objectively" communicable in the sense of an object description, but rather which exist in the subjective fantasy and which are projected into the extraterrestrial space. 2112:"a quartet of albums, Phaedra, Rubycon, Ricochet and Stratosfear, established the Dream's modus operandi with throbbing, cosmic rubber band rhythms thrumming like galactic space basses through floating mellotron pads, ghost flutes and electronic effects whirling by at hyperspeed. This was the soundtrack for countless planetarium shows... the first electronic music to shed the synthesizers reputation as cold and unfeeling... beyond emotion, into the sensual and the transcendent. It was as if the universe were wrapping you up in a warm velvet glove and showing you the wonders of existence." 779:, due to the transcendent cosmic feelings of space evoked by the sound of the music and enhanced by the use of the emerging new instrument, the synthesizer, and also in part to the "outer space" themes that are apparent in some of their works. These space music explorations diverged from traditional pop-song formats into longer less structured compositions. Following their early influence on the development of space music, Tangerine Dream later produced increasingly rock-influenced works that are not generally described as space music. 1491:"Space And Travel Music: Celestial, Cosmic, & Terrestrial... This New Age sub-category has the effect of outward psychological expansion. Celestial or cosmic music removes listeners from their ordinary acoustical surroundings by creating stereo sound images of vast, virtually dimensionless spatial environments. In a word – spacey. Rhythmic or tonal movements animate the experience of flying, floating, cruising, gliding, or hovering within the auditory space."Stephen Hill, co-founder, Hearts of Space, in an essay titled 760:. From the liner notes: "Ingenious use of echo, artificial reverberation and electronic alterations gives the music in this category a weird, spooky futuristic, 'out of this world' quality, well-suited to super-natural happenings of any kind. Piano, drums and electronic instruments are used to achieve the strange atmosphere and spatial sounds." Vaclav Nelhybel crafts a supernatural world, describing nebulae, meteors, star clusters and craters on Mars with sounds natural and manipulated to tell the story of cosmic space. 358:) uses the phrase "contemplative music, broadly defined" as an overview to describe the music played on his station, along with the term "spacemusic". He states that the "genre spans historical, ethnic, and contemporary styles", and that it combines elements from many cultures and genres, blended with varieties of acoustic and electronic ambient music, "woven into a seamless sequence unified by sound, emotion, and spatial imagery." In his essay "New Age Music Made Simple", and in introducing the 200th broadcast of the 1660:"New Age Space music carries visions in its notes; it is transcendent inner and outer space music that opens, allows and creates space... Space music moves; the balance between the rhythm track and melody line determines a great deal of the imagery, altitude, and impact of a particular piece... At its best and most essential, this music speaks to our present moment, to the great allegory of moving out beyond our boundaries into space, and reflexively, to the unprecedented adventures of the psyche that await within." 1987:" and according to Sun Ra himself, also in 1956, quoted on p. 384: "When I say space music, I'm dealing with the void, because that is of space too... So I leave the word space open, like space is supposed to be." and on p. 247, in an interview, Sun Ra states: "sometimes when I'm playing for a band, playing space music... I'm using ordinary instruments, but actually I'm using them in a manner... transforming certain ideas over into a language which the world can understand." – 1194:"A timeless experience...as ancient as the echoes of a simple bamboo flute or as contemporary as the latest ambient electronica. Any music with a generally slow pace and space-creating sound image can be called spacemusic. Generally quiet, consonant, ethereal, often without conventional rhythmic and dynamic contrasts, spacemusic is found within many historical, ethnic, and contemporary genres."Stephen Hill, co-founder, Hearts of Space, sidebar "What is Spacemusic?" in essay 242:, the term is used to describe music that evokes a feeling of contemplative spaciousness. Hill states that space music can range in character, the sonic texture of the music can be simple or complex, it can be instrumental or electronic, it may lack conventional melodic, harmonic, or rhythmic features, and may be less concerned with the formal compositional schemes associated with other styles of music. Hill proposes that space music can be found within a wide range of 2497:"don't get confused and start thinking that classically crafted space music is a thing of the past. We recently received several releases from Sonic Images, an independent Los Angeles label operated by synthesist Christopher Franke, who played with Tangerine Dream for 17 years during the apex of the German group's popularity. Franke, who now resides in L.A., is represented on the label by two recent albums: a compilation of soundtrack music for the sci-fi TV series 1720:" 'Space' is a vital dimension of New Age music; so much so that one of the early appellations for the genre was simply "space music," referring both to its texture and to the state that it tended to evoke in the listener. By "Space" we mean the electro-acoustic enhancement of instrumental tones, through reverb and echo; in New Age music such enhancement is not simply a "special effect", but rather an integral part of the music itself." 2096:""Dark Star," both in its title and in its structure (designed to incorporate improvisational exploration), is the perfect example of the kind of "space music" that the Dead are famous for. Oswald's titular pun "Grayfolded" adds the concept of folding to the idea of space, and rightly so when considering the way he uses sampling to fold the Dead's musical evolution in on itself." – "Islands of Order, part 2", by Randolph Jordan, in 1648:"Although there is no sound in the vacuum of space, many New Age composers have looked upward for inspiration, creating an abstract notion of the sounds of interstellar music. Space indicates not only a style of composition, but also a certain cosmic consciousness... Artists like...Space music pioneer Michael Stearns try to evoke peace and unity with their spacescapes, creating compositions that are tranquil, hypnotic and moving." 1281:"The program has defined its own niche – a mix of ambient, electronic, world, new-age, classical and experimental music...Slow-paced, space-creating music from many cultures – ancient bell meditations, classical adagios, creative space jazz, and the latest electronic and acoustic ambient music are woven into a seamless sequence unified by sound, emotion, and spatial imagery." Stephen Hill, co-founder, Hearts of Space, essay titled 541: 44: 524:, composed in 1798, as space music, both in the sense of the sound of the music, ("a genuine piece of 'space music' featuring softly pulsating high violins and winds above low cellos and basses, with nothing at all in the middle ... The space music gradually drifts towards a return to the movement's opening gesture ... "); and in the manner of its composition, relating that Haydn conceived 381:) wrote in her 1989 essay entitled "Space Music" that "New Age Space music carries visions in its notes; it is transcendent inner and outer space music that opens, allows and creates space... this music speaks to our present moment, to the great allegory of moving out beyond our boundaries into space, and reflexively, to the unprecedented adventures of the psyche that await within." 1690:"Currently no less than fourteen separate subgenres are being called New Age music. These include New Age East/West, Electronic/Computer, Environmental/Nature, Folk, Jazz/Fusion, Meditation, Native American/Indigenous, New Age Pop, New Age Progressive, Solo Instrumental, Sound Health, Space Music, Traditional. New Age, Vocal, and World Music." P. J. Birosik, "Preface", in 1211:"The early innovators in electronic "space music" were mostly located around Berlin. The term has come to refer to music in the style of the early and mid-1970s works of Klaus Schulze, Tangerine Dream, Ash Ra Tempel, Popol Vuh and others in that scene. The music is characterized by long compositions, looping sequencer patterns, and improvised lead melody lines." – 700:, leading to a period of new creative exploration for Davis. Biographer J. K. Chambers wrote that "The effect of Davis's study of Stockhausen could not be repressed for long. ... Davis's own 'space music' shows Stockhausen's influence compositionally." His recordings and performances during this period were described as "space music" by fans, by music critic 1147:"When you listen to space and ambient music you are connecting with a tradition of contemplative sound experience whose roots are ancient and diverse. The genre spans historical, ethnic, and contemporary styles. In fact, almost any music with a slow pace and space-creating sound images could be called spacemusic." Stephen Hill, co-founder, Hearts of Space, 1737:"I got into space music in the '70s as a teenager and I wanted to play with those clichés again—the cyclic, repetitive structures of '70s electronic music—but steer away from the formula by using some of the compositional methods of Steve Reich and Terry Riley, for example. It's a combination of world music, modern compositional methods and '70s schlock." 408:, noted recording artist and workshop leader writes that space music has been considered a synonym for new-age music: " 'Space' is a vital dimension of new-age music; so much so that one of the early appellations for the genre was simply 'space music', referring both to its texture and to the state that it tended to evoke in the listener." 1429:

The mystique of communing with some larger, transpersonal, extraterretrial Gaia is commonly included as part of space music's packaging. Explaining compositions such as 'The Galactic Chalice' and 'Celestial Communion', Constance Demby refers to the 'transformative journey' with 'sounds to awaken and

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music assembly technique, cross-mixing "spacey" instrumental pieces to create a sustained mood. The term began to be used more widely when the show was syndicated nationally in 1983. Other U.S.-based radio programmers adopted the term as well, among them, John Diliberto, Steve Pross, and Gino Wong

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considers space music to be "Anything but New Age," and writes that "spacemusic also known as ambient, chill-out, mellow dub, down-tempo." In the same article, he describes Stephen Hill's "Hearts of Space" spacemusic program as streaming ambient, electronic, world, new-age and classical music. In

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all classify space music as a subgenre of new-age music. Rhapsody's editorial staff writes in their music genre description for space music (listed as a subgenre of new-age music) that "New Age composers have looked upward for inspiration, creating an abstract notion of the sounds of interstellar

2339:"Vangelis...composes and performs mainly instrumental music and film scores. ...he has flirted with many genres and has proved to be very hard to categorize. His music has been filed as 'synthesizer music', 'new age', 'progressive rock', 'Symphonic rock', 'Space music', 'electronic music', etc." 1400:

Space music is just as important for its ability to confound our spoon-fed sense of time and place. Its mercurial stirrings create openings between worlds: inner and outer space; ancestral rhythms and ultra-civilized electronics, the clock on the wall and the hallucinatory "psyhonaut" time that

1534:"Like most people in the independent side of the music business, we inhabited what are called the niche genres... All niche music regardless of style or content has one thing in common: it's all something that relatively small numbers of people really, truly, love." Stephen Hill, 740:

in 1975, one of the first albums to be issued in the innovative but commercially unsuccessful format SQ-Quadwith. Lagin used in real-time stage and studio performance of minicomputers driving real-time digital to analog converters, prior to the commercial availability of

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Hill states that space music is used by some individuals for both background enhancement and foreground listening, often with headphones, to enable states of relaxation, contemplation, inspiration, and generally peaceful expansive moods; it may promote health through

2471:" scored the IMAX film Chronos for Ron Fricke... Chronos opened in May of 1985 and on opening night the soundtrack was beamed via satellite to over 200 radio stations nationwide on Stephen Hill's program Music From the Hearts of Space." from Stearns's bio on the 2231:"The Dream's sound started getting a lot more rock 'n' roll in the 1980s, especially once the dreaded Private Music years set in. They'd record good music after that, but it never had the impact, cultural resonance or lasting import of their 1970s output." 711:

developed a new form of improvisational space music in their extended formless jam sessions during live concerts (which their fans referred to as "Space" though the band did not formally assign that title), and their experimental space music albums such as

2427:, ... transforms images and data from NASA's Hubble Space Telescope into a voyage that sweeps viewers across the cosmos. ... space music composer Jonn Serrie wrote the surround-sound score." Hubble IMAX Film Takes Viewers on Ride Through Space and Time 392:

in California, "Moondance (The Beyond Within)" 1981– 198?, described space music as electronic, environmental and spiritual fine art fashion cosmic sounds as an aid and tool for cultural, contemplative, meditative, social and spiritual awareness.

1761:"Ambient, spacemusic, dub, downtempo, trip hop, acid jazz...artists from all these categories." "Waveform...Starstreams and beyond: Ambient Visions Talks with...Forest", listing styles of music played on Musical Starstreams, from interview in 2402:

involved repetitive elements that were close to the minimalism of Steve Reich... 'we stumbled upon a minimal kind of thing, like Steve Reich or Philip Glass. It was a new way of drawing a romantic theme, which we still get credit for

1505:"Restorative powers are often claimed for it, and at its best it can create an effective environment to balance some of the stress, noise, and complexity of everyday life." – Stephen Hill, Founder, Music from the Hearts of Space 1298:"Hill's Hearts of Space Web site provides streaming access to an archive of hundreds of hours of spacemusic artfully blended into one-hour programs combining ambient, electronic, world, New Age and classical music." Steve Sande, 1355:"This music is experienced primarily as a continuum of spatial imagery and emotion, rather than as thematic musical relationships, compositional ideas, or performance values." Essay by Stephen Hill, co-founder, Hearts of Space, 435:

refers to space music as a separate genre along with Ambient music, and others including dub, downtempo, trip hop, and acid jazz in the list of genres he calls "exotic electronica". Similarly, WXPN Radio's

2158:"At its most abstract – solo albums by Klaus Schulze and by Tangerine Dream's leader Edgar Froese – these were clouds of sounds to lose yourself in, a Rorschach mindscreen for projecting fantasies onto." 2371:

have been aptly applied to the ethereal improvisational electronic work of Tangerine Dream... Tangerine Dream lends itself to movie soundtracks; their music graces dozens of popular motion pictures."

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in 1996 on Franke's independent label Sonic Images. The scores for many of the Babylon 5 TV movies and numerous Babylon 5 episodes were also released by Sonic Images. In 1994, the German TV station

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used the term to describe his music in 1956, when he stated that the music allowed him to translate his experience of the void of space into a language people could enjoy and understand.

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for the school year, creating notoriety among the students by devoting the second half-hour of each class to solo or band performances. In 1972, San Francisco public TV station

400:, author, editor and music critic P. J. Birosik classifies space music as a subgenre of new-age music, as does Dallas Smith, writer, teacher and recording artist in his essay 2441:

Harpole, Charles; Charles Musser; Eileen Bowser; Richard Koszarski; Donald Crafton; Tino Balio; Thomas Schatz; Stephen Prince; David A. Cook; Paul Monaco; Peter Lev (2004).

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Hill believes that space music can evoke a "continuum of spatial imagery and emotion", which can be beneficial for introspection, and for developing, through a practice of

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space music evokes vague images of regal landscapes perhaps encountered in past lives or the tones of a harmonic convergence between earth and other celestial bodies...

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by David Dunn, in the catalog of the exhibition: Eigenwelt der Apparatewelt: Pioneers of Electronic Art, presented as part of Ars Electronica 1992, in Linz, Austria.

431:, who considers space music to be a combination of Electronic music influences from the 1970s with world music and "modern compositional methods". Forest, host of 277:

listening can produce a subtle trance-like state in certain individuals which can in turn lead to sensations of flying, floating, cruising, gliding, or hovering.

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nature. Within that overview, Hill's definition of space music includes a wide variety of styles, instrumentation and influences – both acoustic or electronic.

2516: 1369:"Innerspace, Meditative, and Transcendental... This music promotes a psychological movement inward." Stephen Hill, co-founder, Hearts of Space, essay titled 4905: 4834: 4787: 2378: 4569: 1703:"New Age Jazz/Fusion is distinguished from other New Age subgenres, especially space music, by its rhythm and identifiable melodies." Dallas Smith, 1128:"In fact, almost any music with a slow pace and space-creating sound images could be called spacemusic." Stephen Hill, co-founder, Hearts of Space, 798:, and screenwriter Joshua Smith worked with Sun Ra to produce a 30-minute documentary film, expanded into a feature film released in 1974, entitled 3641: 2590: 2534: 1681:

University of San Francisco, California" "Archives meaning that if you email them with the name of the person, show and date they will confirm"

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According to Author Norman Mailer in 1956, quoted on p. 154: "a friend took me to hear a jazz musician named Sun Ra who played 'space music.

1576: 1519:"This was the soundtrack for countless planetarium shows, on massage tables, and as soundtracks to many videos and movies."- Lloyd Barde 2752: 878: 651:

used new studio technologies to "create sound tapestries with innumerable strings" and in particular, "the sustained hum of Mantovani's

440:, programming ambient music since 1976, on its website lists space music as a separate genre, along with Ambient, new-age, and others. 783: 2347: 2323:"...includes music in his 'classic' style, ethnically influenced e-music, deep sequences, symphonic synths, and sci-fi space music." 955:, featuring a constant flow of satellite and space images accompanied by space music programmed by European chill-out-DJ Alex Azary. 4792: 2562: 2456: 2216: 2191: 2062: 2028: 1968: 1947: 1913: 1806: 1631:

CD Baby – Space music is listed as a subgenre of New Age music. Both Electronic music and New Age music list Ambient as a subgenre.

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Listed in "A Classic Space Music Countdown to Liftoff: 10 Essential classic space music albums, counting down from 10 to 1"

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Space music typically evokes a sense of spatial imagery and emotion or sensations of floating, cruising, flying and other

1742: 4765: 4748: 2328: 1322: 513: 2583: 389: 2278: 1873: 1728:, edited by Patti Jean Birosik, p. xix (New York: Collier Books; London: Collier MacMillan Publishing Company, 1989). 1668:, edited by Patti Jean Birosik, p. 134 (New York: Collier Books; London: Collier MacMillan Publishing Company, 1989). 1711:, edited by Patti Jean Birosik, p. 46 (New York: Collier Books; London: Collier MacMillan Publishing Company, 1989). 1225: 4872: 2667: 2238: 2142: 2119: 824: 233: 2506: 1883:, from the catalog of the exhibition Eigenwelt der Apparatewelt: Pioneers of Electronic Art, presented as part of 5292: 4820: 4777: 4738: 3558: 3553: 3324: 2705: 1868: 1473:"...Spacemusic ... conjures up either outer "space" or "inner space" " – Lloyd Barde, founder of Backroads Music 1694:, edited by P. J. Birosik, p. vii (New York: Collier Books; London: Collier Macmillan Publishing Company, 1989). 4998: 4951: 1846: 1776:"spacemusic, also known as ambient, chill-out, mellow dub, down-tempo ...Anything but New Age." Steve Sande, 552: 5329: 4978: 4685: 3725: 3646: 2853: 2412: 444: 5380: 5375: 5360: 5194: 3940: 3006: 2732: 2576: 2375: 1738: 1661: 850: 820: 763:

Beginning in the early 1970s, the term "space music" was applied to some of the output of such artists as

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in the marketplace, supported and enjoyed by a relatively small audience of loyal enthusiastic listeners.

1988: 704:, and by Buckmaster who stated: "a lot of mood changes – heavy, dark, intense – definitely space music." 696:

was introduced to the music of Stockhausen by young arranger and cellist, and later Grammy award winner,

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editor Jerry Wood describes space music as one of several "genres within the genre" of new-age music.

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Warlocks and Warpdrive: Contemporary Fantasy Entertainments With Interactive and Virtual Environments

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style during the early 1950s as a precursor to modern space music. He wrote that orchestra conductor

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Many space music recording artists specialize in electronic forms, evolving out of the traditional

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specializing in "elektronische Musik" using magnetic tape recorders, sine wave generators and

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violins produced a sonic vaporizor foreshadowing the synthesizer harmonics of space music."

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20, no. 12 (1928): 861–866. See also p. 36 in Lowell Cross, "Electronic Music, 1948–1953",

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The Ambient Century: From Mahler to Trance: The Evolution of Sound in the Electronic Age

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Rhapsody online music service – definition of Space Music on New Age music subgenre page

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Hearts of Space: a mellow carriage leader after a decade on the public radio satellite

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As described by Stephen Hill, the predominant defining element of spacemusic is its

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Current, "the newspaper about public television and radio in the United States"

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The United States and Germany in the Era of the Cold War, 1945–1990: A Handbook

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Junker, Detlef; Philipp Gassert; Wilfried Mausbach; David Brian Morris (2004).

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The United States and Germany in the Era of the Cold War, 1945–1990: A Handbook

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