Ambient music

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Ambient music
Stylistic origins
Cultural origins
1970s, UK
Typical instruments
Electronic musical instruments, Electroacoustic music instruments, and any other instruments or sounds (including World instruments) with electronic processing
Mainstream popularity Small, mainly based in the European Union
Derivative forms Ambient house - Ambient techno - New Age - Chillout - Downtempo
Subgenres
Dark ambient - Drone music - Lowercase - Black ambient
Fusion genres
Ambient dub - Illbient - Psybient - Ambient industrial -Ambient house - Space music
Other topics
Ambient music artists - List of electronic music genres - Furniture music

Ambient music is a musical genre that focuses on the timbral characteristics of sounds, particularly organised or performed to evoke an "atmospheric",[1] "visual"[2] or "unobtrusive" quality. Ambient evolved from the early 20th century music of the impressionists, composers such as John Cage, Morton Feldman and minimalist composers of the 1960s and 1970s to rock musician Brian Eno, who is responsible for coining the phrase ambient music in the manifesto liner notes of his 1978 album Ambient 1: Music for Airports.[3]

Ambient music has influenced many other genres, most remarkably some forms of rhythmic music presented in chill-out rooms at raves and other dance events, with the intention of creating an calmer, relaxed atmosphere for ravers to take a break from dancing.[4]

Contents

[edit] History

Early 20th century French composer Erik Satie created an early form of ambient music that he referred to as "furniture music" (Musique d'ameublement), in reference to something that could be played during a dinner whose sound would simply create an atmosphere for that activity rather than be the specific focus of attention.[5]

Brian Eno is generally credited with coining the term "ambient music" in the mid-1970s to refer to music that, as he stated, can be either "actively listened to with attention or as easily ignored, depending on the choice of the listener", and that exists on the "cusp between melody and texture."[5] Eno, who describes himself as a "non-musician", termed his experiments in sound as "treatments" rather than as traditional performances. Eno used the word "ambient" to describe music that creates an atmosphere that puts the listener into a different state of mind; having chosen the word based on the Latin term "ambire", "to surround".[6]

The liner notes of Eno's 1978 release Ambient 1: Music for Airports includes a manifesto describing his philosophy of ambient music:

"Ambient Music must be able to accommodate many levels of listening attention without enforcing one in particular; it must be as ignorable as it is interesting."Brian Eno, Music for Airports liner notes, September 1978

Eno has acknowledged the influence of Erik Satie and John Cage, in particular Cage's use of chance such as throwing the I Ching to direct a musical composition; and minimalist music in general. This influence was manifested in Oblique Strategies, a set of cards devised by Eno and Peter Schmidt and intended to direct the musician or artist when a dilemma occurred in a working situation. Eno used the term "ambient music" to distance his work from elevator music and Muzak. Eno also acknowledged influences of the mood music of Miles Davis and Teo Macero, especially their 1974 epic piece, "He Loved Him Madly", about which Eno wrote, "that piece seemed to have the 'spacious' quality that I was after...it became a touchstone to which I returned frequently."[6]

Early albums such as Ummagumma by Pink Floyd and by the "kosmische Musik"-oriented krautrock artists, like Tangerine Dream, Popol Vuh, and Cluster have greatly influenced the genre[citation needed]. Among the first electronic ambient albums were Affenstunde (1970) and In Den Garten Pharaos (1971) by Popol Vuh. Other notable albums include Sonic Seasonings (1972) by Wendy Carlos and L'apocalypse des Animaux (1973; recorded in 1970) by Vangelis. Additional early artists, such as Klaus Schulze (a former member of Tangerine Dream and Ash Ra Tempel), Jean Michel Jarre, and Kraftwerk in the 1970s and 1980s, were influential[citation needed].

[edit] Influences on other genres

By the early 1990s artists such as the The Orb, Aphex Twin, Slowdive, the Irresistible Force, Geir Jenssen's Biosphere, and the Higher Intelligence Agency were being referred to by the popular music press as ambient house, ambient techno, IDM or simply "ambient".[citation needed]

Early Warp records artists, (as well as later ones such as Aphex Twin), FSOL Future Sound of London (Lifeforms, ISDN) Autechre, (Incunabula, Amber), Boards of Canada, Massive Attack, Portishead, and The KLF all took a part in popularising and diversifying ambient music.[citation needed]

Chillout is generally linked to club culture and is sometimes used as a term which includes ambient music as a subset of itself.[citation needed] UK techno developed in particular at Warp Records in Sheffield, where previous electronic pioneers such as Cabaret Voltaire and Autechre laid the groundwork for ambient techno to develop, and for Aphex Twin and Boards of Canada to develop later[citation needed]. Intelligent Dance Music is another term synonymous with this scene[citation needed]. Glitch music is a subset of this work.[citation needed] Some club groups have created live ambient music, mixing dub techniques with ambient textures and dance grooves.

Several second-wave black metal artists (most notably Burzum) experimented with dark ambient textures on some of their albums. The two genres still remain linked, however loosely, to this day, as evidenced by the music of Xasthur.[citation needed]

[edit] Soundtracks

Ambient music has been used in many video games, television shows and motion pictures and is notable for contributing to their atmosphere, or soundscapes. David Lynch's 1984 film Dune, for example, forgoes the epic sci-fi adventure style theme music popularized by Star Wars in favor of a more atmospheric music score by Toto and Brian Eno. Electronic musician Paddy Kingsland is noted for the music style he brought to several serials of the television series Doctor Who which had until then relied mostly on stock music cues or minimal music for much of its history. The video game trilogy Fallout and its spinoffs use ambient music that sometimes contains gentle rumblings to portray the bleakness of the post-apocalyptic world which the games are set in.

[edit] Related and derivative genres

[edit] Ambient dub

Ambient Dub was a phrase first coined by the now defunct Beyond record label from early 1990s in Birmingham, England. Their defining series of albums "Ambient Dub 1, 2, through to 4" inspired many, including sound engineer and producer Bill Laswell, who used the same phrase in his music project Divination, where he collaborates with different musicians on each album (though sometimes the same ones are on more than one of the albums such as Tetsu Inoue and others). Laswell also presented Ambient dub and Ambient house music on albums by his collaboration project Axiom Dub, featuring recording artists the Orb, Jah Wobble, Jaki Liebezeit and DJ Spooky.

Ambient dub involves the genre melding of dub styles made famous by King Tubby and other Jamaican sound artists with DJ inspired ambient electronica, complete with all the inherent drop-outs, echo, equalization and psychedelic electronic effects. As writer and performer David Toop explains in an early Beyond Records newsletter, "Dub music is like a long echo delay, looping through time...turning the rational order of musical sequences into an ocean of sensation."

[edit] Organic ambient music

Organic ambient music is characterised by integration of electronic, electric, and acoustic musical instruments. Aside from the usual electronic music influences, organic ambient tends to incorporate influences from world music, especially drone instruments and hand percussion. Organic ambient is intended to be more harmonious with nature than with the disco. Some of the artists in this sub-genre include Robert Rich, Steve Roach, Vidna Obmana, O Yuki Conjugate, Ma Ja Le, Neal Merrick Blackwood, Vir Unis, James Johnson, Loren Nerell, Tuu and Robert Scott Thompson.

Some works by ambient pioneers such as Brian Eno, Laraaji or Popul Vuh who use a combination of traditional instruments (such as piano or hammered dulcimer or hand percussion, though usually processed through tape loops or other devices) and electronic instruments, would be considered organic ambient music in this sense. In the 70s and 80s Klaus Schulze often recorded string ensembles and performances by solo cellists to go along with his extended Moog synthesizer workouts.

[edit] Nature inspired ambient music

The music is composed from samples and recordings of naturally occurring sounds. Sometimes these samples can be treated to make them more instrument-like. The samples may be arranged in repetitive ways to form a conventional musical structure or may be random and unfocused. Sometimes the sound is mixed with urban or "found" sounds. Examples include much of Biosphere's Substrata, Mira Calix's insect music and Chris Watson's Weather Report. Some overlap occurs between organic ambient and nature inspired ambient. One of the first albums in the genre, Wendy Carlos' Sonic Seasonings, combines sampled and synthesized nature sounds with ambient melodies and drones for a particularly relaxing effect. The album Second Nature by Bill Laswell, Tetsu Inoue, and Atom Heart is an ambient album that uses processed nature sounds, with reverb and echo to create a hypnotic environment. Aquatemple has contributed to the hybridization of these genres with their debut album Opulent Oceanic Odyssey. Aquatemple has been credited for birthing "Aquatica" as a new sub genre within ambient music.

[edit] Dark ambient

Dark ambient is a general term for any kind of ambient music with a "dark" or dissonant feel, but often involves extensive use of digital reverb to create vast sonic spaces for frightening, bottom-heavy sounds such as deep drones, gloomy male chorus, echoing thunder, and distant artillery. It has an eerie feel; the term "Isolationist Ambient" could be used interchangeably with it according to the listener or artists perspective. Some artists and releases that epitomize the style could include Yen Pox, Randy Grief, Archon Satani, Lull's Cold Summer, Controlled Bleeding's The Poisoner, and the Robert Rich/Lustmord collaboration album Stalker. Related styles include ambient industrial and isolationist ambient. (See also List of dark ambient artists)

There are also a few black metal bands, such as Burzum and Beherit, who produce ambient music, albeit not always with such a dark atmosphere. Illbient is another kind of dark ambient music that has more of a beat but still creates the spooky disturbing feelings.

[edit] Ambient techno

A rarefied, more specific re-orientation of ambient house, ambient techno is usually applied to artists such as B12, early Aphex Twin, the Black Dog, Higher Intelligence Agency, and Biosphere. It distinguished artists who combined the melodic and rhythmic approaches of techno and electro—use of drum machines; well-produced, thin-sounding electronics; minor-key melodies and alien-sounding samples and sounds—with the soaring, layered, aquatic atmospheres of beatless and experimental ambient music. Most often associated with labels such as Apollo, GPR, Warp, and Beyond, the terminology morphed into "intelligent techno" after Warp released its Artificial Intelligence series, although the music's stylistic references remained largely unchanged.

[edit] Ambient house

Ambient house is a musical category founded in the late 1980s that is used to describe acid house featuring ambient music elements and atmospheres. Tracks in the ambient house genre typically feature four-on-the-floor beats, synth pads, and vocal samples integrated in an atmospheric style.[7] Ambient house tracks generally lack a diatonic center and feature much atonality along with synthesized chords.

[edit] Ambient industrial

Ambient industrial is a hybrid genre of ambient and industrial music; the term industrial being used in the original experimental sense, rather than in the sense of industrial metal or EBM. A "typical" ambient industrial work (if there is a such thing) might consist of evolving dissonant harmonies of metallic drones and resonances, extreme low frequency rumbles and machine noises, perhaps supplemented by gongs, percussive rhythms, bullroarers, distorted voices and/or anything else the artist might care to sample (often processed to the point where the original sample is no longer recognizable). Entire works may be based on radio telescope recordings, the babbling of newborn babies, or sounds recorded through contact microphones on telegraph wires.

Among the many artists who work in this area are Coil, CTI, Lustmord, Susumu Yokota, Hafler Trio, Nocturnal Emissions, Zoviet France, PGR, Thomas Köner, Controlled Bleeding, and Deutsch Nepal. However many of these artists are very eclectic in their output, with much of it falling outside of ambient industrial per se.

[edit] Space music

Space music, also spelled spacemusic, includes music from the Ambient genre as well as a broad range of other genres with certain characteristics in common to create the experience of contemplative spaciousness.[8][9][10] Space music ranges from simple to complex sonic textures sometimes lacking conventional melodic, rhythmic, or vocal components,[11][12] generally evoking a sense of "continuum of spatial imagery and emotion",[13] beneficial introspection, deep listening[14] and sensations of floating, cruising or flying.[15][16]

Space music is used by individuals for both background enhancement and foreground listening, often with headphones, to stimulate relaxation, contemplation, inspiration and generally peaceful expansive moods[17] and soundscapes. Space music is also a component of many film soundtracks, commonly used in planetariums, and used as a relaxation aid and for meditation.[18]

Hearts of Space is a well-known radio show and affiliated record label, specializing in Space Music since 1984, having released over 150 albums devoted to the music style. Notable artists who have brought elements of Ambient music to Space music include Michael Stearns, Constance Demby, Jean Michel Jarre, Carbon Based Lifeforms, Robert Rich, Steve Roach, Numina, Dweller at the Threshold, Deepspace, Telomere, Jonn Serrie, Klaus Schulze and Tangerine Dream (as well as the group's founder Edgar Froese).

[edit] Isolationist ambient music

Isolationist ambient music is also known as isolationism, which can be differentiated from other forms of ambient music in its use of repetition, dissonance, microtonality, and unresolved harmonies to create a sense of unresolved unease and desolation.[19] The term was popularized in the mid-1990s by the British magazine The Wire and the Ambient 4: Isolationism compilation from Virgin, this began as more or less a synonym for ambient industrial, but also inclusive of certain post-metal streams of ambient, such as Final, Lull, Main, Sleep Research Facility, or post-techno artists such as Autechre and Aphex Twin. It may be less appropriate to call Isolationist Ambient a genre than than using it to describe the style or "feel" of particular works by an artist working in an ambient mode. This is because many artists better known for other styles of work can occasionally create pieces that "sound" Isolationist. (For example; Labradford, Seefeel, Techno Animal, Voice Of Eye, KK Null, etc.)[20] There are many labels releasing work that could be termed Isolationist Ambient, among these are Malignant Records, Cold Spring, Manifold Records, Soleilmoon, Dark Vinyl, and The Sombient label with the "drones" compilation series. Some of the artists known for this style of ambient music include Lull, Final, Deutsch Nepal, Inanna, Negru Voda, Sleep Research Facility, Thomas Koner, Robert Fripp and Chuck Hammer Guitarchitecture.

[edit] Notable musicians and works in chronological order

Artist name Influential works
Erik Satie 1917 - Furniture music (1)
1920 - Furniture music (2)
1923 - Furniture music (3)
Popol Vuh 1970 - Affenstunde
1971 - In den Gärten Pharaos
Cluster 1971 - Cluster
1972 - Cluster II
1974 - Zuckerzeit
1976 - Soweisoso
1977 - Cluster & Eno (with Brian Eno)
1978 - After The Heat (with Brian Eno)
1979 - Grosses Wasser
1981 - Curiosum
1991 - Apropos Cluster
1995 - One Hour
Tangerine Dream 1971 - Alpha Centauri
1972 - Zeit
1974 - Phaedra
1975 - Rubycon
1975 - Ricochet
1976 - Stratosfear

2000 - The Seven Letters from Tibet
Wendy Carlos 1972 - Sonic Seasonings
Klaus Schulze 1972 - Irrlicht
1973 - Cyborg
1974 - Blackdance
1975 - Timewind
1976 - Moondawn
1977 - Mirage
1977 - Body Love Vol. 2
1978 - X
1979 - Dune
1995 - In Blue
— With Pete Namlook:
1994 - Dark Side of the Moog I - Wish you were there
1994 - Dark Side of the Moog II - A saucerful of ambience
2002 - Dark Side of the Moog IX - Set the controls for the heart of the mother
2005 - Dark Side of the Moog X - Astro know me domina
Can 1973 - Future Days
1974 - Soon Over Babaluma
Gong 1973 - Flying Teapot for "The Octave Doctors and the Crystal Machine"
1974 - You for "A Sprinkling of Clouds"
Fripp & Brian Eno 1973 - No Pussyfooting
1975 - Evening Star
2005 - The Equatorial Stars
Kraftwerk 1975 - Radio-Activity
Harmonia 1974 - Musik Von Harmonia
1997 - Tracks and Traces
Neu! 1975 - Neu! '75
Brian Eno 1975 - Another Green World
1975 - Discreet Music
1978 - Ambient 1 / Music For Airports
1980 - Fourth World 1 / Possible Musics (with Jon Hassell)
1982 - Ambient 4 / On Land
1983 - Apollo: Atmospheres and Soundtracks
1985 - Thursday Afternoon

1992 - The Shutov Assembly
1993 - Neroli

Jean Michel Jarre 1976 - Oxygène
1978 - Equinoxe
1990 - Waiting for Cousteau
Chuck Hammer 1977 - Guitarchitecture
Michael Stearns 1978 - Ancient Leaves
1979 - Morning Jewel
1981 - Planetary Unfolding
1984 - M'ocean
1988 - Encounter
2000 - Within
Erik Wollo 1985 - Traces
1986 - Silver Beach (re-release 2006)
1990 - Images of Light
1992 - Solstice
1996 - Transit
1998 - Guitar Nova
2001 - Wind Journey
2003 - Emotional Landscapes
2003 - The Polar Drones
2004 - Blue Sky, Red Guitars
2007 - Elevations
Earthstar 1978 - Salterbarty Tales
1981 - Atomkraft? Nein, Danke!
1982 - Humans Only
Robert Fripp 1981 - Let The Power Fall
1998 - Gates Of Paradise
Robert Rich 1982 - Sunyata
1983 - Trances
1983 - Drones
1987 - Numena
1992 - Soma (with Steve Roach)
1997 - Fissures
2001 - Somnium
Steve Roach 1984 - Structures from Silence
1988 - Quiet Music
1988 - Dreamtime Return
1993 - Origins
1994 - Artifacts
1996 - The Magnificent Void
2000 - Early Man
2003 - Mystic Chords & Sacred Spaces
Coil 1984 - How to Destroy Angels
1998 - Time Machines
Hirokazu Tanaka 1986 - Metroid
The KLF 1990 - Chill Out
Enigma 1990 - MCMXC A.D.
The Orb 1991 - The Orb's Adventures Beyond the Ultraworld
1992 - U.F.Orb
Biosphere 1992 - Microgravity
1994 - Patashnik
1996 - Polar Sequences (with Higher Intelligence Agency)
1997 - Insomnia
1997 - Substrata
1998 - Nordheim Transformed (with Deathprod)
2000 - Birmingham Frequencies (with Higher Intelligence Agency)
2000 - Cirque
2002 - Shenzhou
2004 - Autour de la lune
2006 - Dropsonde
Brunette Models 1995 - 97 - Magnus luctus in ergastulo - The first album
1999 - Apsychastenia - The second album
2000 - Impressions of whispers - The third album
2004 - R E E D I T I O N 6th International Music Presentations of Ambient 2 0 0 4
2008 - Last poem - The fifth album
Aphex Twin 1992 - Selected Ambient Works 85-92
1994 - Selected Ambient Works Volume II
Pete Namlook 1992 - Silence I
1993 - Air I
1994 - Air II
1996 - Outland 2 (with Bill Laswell)
1996 - The Fires of Ork (with Geir Jensen of Biosphere)
Moby aka Voodoo Child 1993 - Ambient
1996 - The End of Everything (as Voodoo Child)
2005 - Hotel:Ambient (Disc Two) (limited edition only)
Neptune Towers (Gylve Nagell aka Fenriz) 1994 - Caravans to Empire Algol
1995 - Transmissions from Empire Algol
Kenji Yamamoto 1994 - Super Metroid
Robert Leiner 1994 - Visions of the past
Global Communication 1994 - 76:14
Alpha Wave Movement 1995 - Transcendence
2000 - Drifted Into Deeper Lands
Burzum (Varg Vikernes) 1996 - Filosofem (tracks 4 to 6)
1997 - Dauði Baldrs (Balder's Død)
1999 - Hliðskjálf
Future Sound of London 1994 - Lifeforms
Richard Bone 1998 - The Spectral Ships
1999 - Ether Dome
Stars of the Lid 1996 - Gravitational Pull vs. the Desire for an Aquatic Life
1997 - The Ballasted Orchestra
1998 - Per Aspera Ad Astra
1999 - Avec Laudenum
2001 - The Tired Sounds of Stars of the Lid
2007 - Stars of the Lid and Their Refinement of the Decline
Marvin Ayres 1999 - Cellosphere
2002 - Neptune
Ishq 2001 - Ishq
2001 - Orchid
William Basinski 2002 - The River
2002-2003 - Disintegration Loops I, II, III and IV
Robert Scott Thompson 1996 - The Silent Shore
1998 - Frontier
2002 - Sidereal
2005 - At the Still Point of the Turning World
2008 - Frozen Light

- Secret and Whisper

 2008 - Great White Whale

[edit] Notable films incorporating ambient music or sound design

Film Director Composer or Sound Designer Comments
1956 - Forbidden Planet Fred Wilcox Louis and Bebe Barron (electronic tonalities) This soundtrack is generally considered to be ahead of its time with its spacey ambient sounds
1968 - 2001: A Space Odyssey Stanley Kubrick György Ligeti (composer "Monolith" and "Beyond Saturn" themes)
Winston Ryder (sound editor)
"A cutting edge ambient, multimedia accomplishment...the ambient revolution, now and for the past couple of decades, owes much of its impetus to the achievement of 2001." — D.B. Spalding[21]
1971 - THX 1138 George Lucas Lalo Schifrin (composer)
Walter Murch (sound design)
Murch's "Theater of Noise" offered as alternate soundtrack on Director's Cut DVD
1972 - Aguirre, der Zorn Gottes Werner Herzog Popol Vuh (composer)
1976 - Sebastiane Derek Jarman Brian Eno (composer)
1977 - Eraserhead David Lynch Alan Splet (sound design) Features innovative ambient noise sound design as its musical score.
1977 - Sorcerer William Friedkin Tangerine Dream (Composer)
1980 - The Elephant Man David Lynch Alan Splet (sound design)
1981 - Halloween II Rick Rosenthal John Carpenter (composer) & Alan Howarth (synthesizer programmer)
1982 - Halloween III: Season of the Witch Tommy Lee Wallace John Carpenter (composer) & Alan Howarth (synthesizer programmer)
1984 - Starman John Carpenter Jack Nitzsche (composer)
1986 - The Hitcher Robert Harmon Mark Isham (composer)
1989 - For All Mankind Al Reinert Brian Eno (composer) Score released as Apollo: Atmospheres and Soundtracks
1989 - Sex, Lies, and Videotape Steven Soderbergh Cliff Martinez (composer) Soderbergh's instructions to Martinez were to channel Brian Eno. Soundtrack on Virgin/EMI Records
1992 - Alien³ David Fincher Elliot Goldenthal
1997 - Insomnia Erik Skjoldbjærg Biosphere (composer)
2001 - Donnie Darko Richard Kelly Michael Andrews (musician) (composer)
2001 - Traffic Steven Soderbergh Cliff Martinez (composer)
Brian Eno (composer- end title theme)
End title theme is "An Ending (Ascent)" from Apollo: Atmospheres and Soundtracks
2002 - Solaris Steven Soderbergh Cliff Martinez (composer)
2005 - Me and You and Everyone We Know Miranda July Michael Andrews (musician) (composer)
2006 - The Prestige (film) Christopher Nolan David Julyan (composer)
2006 - Silent Hill Christophe Gans Akira Yamaoka (composer)
2007 - 30 Days of Night David Slade Brian Reitzell (composer)

[edit] Notable ambient-music shows on radio and via satellite

  • Echoes, is a daily two-hour music radio program hosted by John Diliberto featuring a soundscape of ambient, spacemusic, electronica, new acoustic and new music directions - founded in 1989 and syndicated on 130 radio stations in the USA.
  • Hearts of Space, a program hosted by Stephen Hill and broadcast on NPR in the US since 1973.[22][23]
  • Musical Starstreams, a US-based commercial radio station and internet program produced, programmed and hosted by Forest since 1981.
  • Star's End a radio show on 88.5 WXPN, in Philadelphia, Pennsylvania. Founded in 1976, it is the second longest-running ambient music radio show in the world.[24]
  • Ultima Thule Ambient Music, a weekly 90-minute show broadcast since 1989 on community radio across Australia. saeed
  • Ambient Zone, a weekly 2-hour radio show broadcast on RTRFM in Perth since 1994.[25]

[edit] See also

[edit] References

  1. ^ "Ambient Music Definition". Deepintense.com. http://www.deepintense.com/definition.php?id=2. 
  2. ^ Prendergast, M. The Ambient Century. 2001. Bloomsbury, USA
  3. ^ Prendergast, M. The Ambient Century. 2001. Bloomsbury, USA
  4. ^ Cook, Nicholas; Anthony Pople (2004). The Cambridge History of Twentieth-Century Music. Cambridge University Press. pp. 502. ISBN 0521662567. 
  5. ^ a b Jarrett, Michael (1998). Sound Tracks: A Musical ABC, Volumes 1-3. Temple University Press. pp. 1973. ISBN 1566396417. 
  6. ^ a b Tingen, Paul (2001). Miles Beyond: The Electric Explorations of Miles Davis, 1967-1991. Watson-Guptill. pp. 54. ISBN 0823083462. 
  7. ^ "Ambient House", Allmusic (Retrieved October 4, 2006).
  8. ^ "... Originally a 1970s reference to the conjunction of ambient electronics and our expanding visions of cosmic space ... 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, What is spacemusic?
  9. ^ "Any music with a generally slow, relaxing pace and space-creating imagery or atmospherics may be considered Space Music, without conventional rhythmic elements, while drawing from any number of traditional, ethnic, or modern styles." Lloyde Barde, July/August 2004, Making Sense of the Last 20 Years in New Music
  10. ^ "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, What is spacemusic?
  11. ^ "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 Contemplative Music, Broadly Defined
  12. ^ "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." - John Dilaberto, Berlin School, Echoes Radio on-line music glossary
  13. ^ "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, New Age Music Made Simple
  14. ^ "Innerspace, Meditative, and Transcendental... This music promotes a psychological movement inward." Stephen Hill, co-founder, Hearts of Space, essay titled New Age Music Made Simple
  15. ^ "...Spacemusic ... conjures up either outer "space" or "inner space" " - Lloyd Barde, founder of Backroads Music Notes on Ambient Music, Hyperreal Music Archive
  16. ^ "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 New Age Music Made Simple
  17. ^ " 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 What is Spacemusic?
  18. ^ "This was the soundtrack for countless planetarium shows, on massage tables, and as soundtracks to many videos and movies."- Lloyd Barde Notes on Ambient Music, Hyperreal Music Archive
  19. ^ Reynolds, Simon; Chill: the new ambient, ArtForum, Jan, 1995
  20. ^ http://music.hyperreal.org/epsilon/info/isolationism.html
  21. ^ http://www.korova.com/kmr95/kmr5025.htm
  22. ^ "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 Contemplative Music, Broadly Defined
  23. ^ "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, The Sky's the Limit with Ambient Music, SF Chronicle, Sunday, January 11, 2004
  24. ^ "Star's End" is (with the exception of "Music from the Hearts of Space") the longest running radio program of ambient music in the world. Since 1976, Star's End has been providing the Philadelphia broadcast area with music to sleep and dream to." "Star's End" website background information page
  25. ^ http://www.rtrfm.com.au/shows/ambientzone "Ambient Zone Online"

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