Dab solver - Space music

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Hill's partner [[Anna Turner (producer)|]] (co-host and original [[radio co-producer|co-producer]] of "Music from the Hearts of Space") 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."^ref

Gerardo "Pkx" Martinez-Casas, original host, producer and creator of 's 90.3 FM, [[University of San Francisco]] 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.^ref

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[[File:M82 Chandra HST Spitzer.jpg|thumb|size=400px|Space music typically evokes a sense of spatial imagery and emotion or sensations of floating, cruising, flying and other transportative sensations.]]

'''Space music''', also called '''spacemusic''', is an [[umbrella term]] also associated with preceding styles of relaxing music such as [[lounge music]], [[easy-listening]], and [[elevator music]].<ref name="elevator185-1">{{cite book|title=Elevator Music: A Surreal History of Muzak, Easy-listening, and Other Moodsong|last= Lanza|first= Joseph|year=2004|publisher=University of Michigan Press|isbn= 0-472-08942-0|page=185}}</ref>

According to Stephen Hill, co-founder of a radio show called ''Hearts of Space,'' the term is used to describe music that evokes a feeling of contemplative spaciousness.<ref name="ref1">"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,  [http://hos.com/aboutmusic.html ''What is spacemusic?'']</ref><ref name="ref46">"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,  [http://hos.com/aboutmusic.html ''What is spacemusic?'']</ref><ref name="elevator184-1">{{cite book|title=Elevator Music: A Surreal History of Muzak, Easy-listening, and Other Moodsong|last= Lanza|first= Joseph|year=2004|publisher=University of Michigan Press|isbn= 0-472-08942-0|quote=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...|page=184}}</ref> 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.<ref name="ref43">"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 [http://hos.com/history.html ''Contemplative Music, Broadly Defined'']</ref><ref name="ref5">"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 Diliberto]], ''Berlin School'',  [http://www.echoes.org/de.glossary.html#a ''Echoes Radio on-line music glossary'']</ref>Hill proposes that space music can be found within a wide range of [[music genres|genres]].<ref name="rough">{{cite book  | last = Herberlein  | first = L.A. | title = The Rough Guide to Internet Radio | year = 2002  | publisher = Rough Guides  | isbn = 1-85828-961-0   | page = 95 }}</ref><ref name="ref43"/> Some claim{{who|date=September 2012}} that music from the [[Classical music|western classical]], [[World music|world]], [[Celtic music|Celtic]], [[traditional music|traditional]], [[Experimental music|experimental]] and other idioms also falls within the definition of space music.<ref name="ref48"/><ref name="ref36b"/><ref name="haydn">{{cite book  | last = Hurwitz | first = David | title = Exploring Haydn: A Listener's Guide to Music's Boldest Innovator | year = 2005  | publisher = Hal Leonard | isbn = 1-57467-116-2 | series = Amadeus Press Unlocking the Masters Series  | pages = 78–81}}</ref>

Hill believes that space music can evoke a "continuum of spatial imagery and emotion,"<ref name="ref47">"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, [http://hos.com/n_word.html ''New Age Music Made Simple'']</ref> which can be beneficial for introspection, and for developing, through a practice of ''deep listening'', an awareness of the spatiality of sound phenomenon.<ref name="ref49">"Innerspace, Meditative, and Transcendental... This music promotes a psychological movement inward." Stephen Hill, co-founder, Hearts of Space, essay titled [http://hos.com/n_word.html ''New Age Music Made Simple'']</ref> This type of [[psychonaut]]ic listening can produce a subtle trance-like state in certain individuals<ref name="elevator184-2">{{cite book|title=Elevator Music: A Surreal History of Muzak, Easy-listening, and Other Moodsong|last= Lanza|first= Joseph|year=2004|publisher=University of Michigan Press|isbn= 0-472-08942-0|quote=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 drifts in and out of waking life.|page=184}}</ref><ref name="elevator185-2">{{cite book|title=Elevator Music: A Surreal History of Muzak, Easy-listening, and Other Moodsong|last= Lanza|first= Joseph|year=2004|publisher=University of Michigan Press|isbn= 0-472-08942-0|quote=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 activate soul memory of our true origin.'|page=185}}</ref><ref name="lancaster29-2">{{cite book|title=Warlocks and Warpdrive: Contemporary Fantasy Entertainments With Interactive and Virtual Environments|last= Lancaster|first= Kurt|coauthor=Brooks McNamara|year= 1999|publisher=McFarland & Company|isbn= 0-7864-0634-8|quote=Space music presents a virtual fantasy of traveling in outer space.|page=29}}</ref> which can in turn lead to sensations of flying, floating, cruising, gliding, or hovering.<ref name="ref7">"...Spacemusic ... conjures up either outer "space" or "inner space" " - Lloyd Barde, founder of Backroads Music [http://music.hyperreal.org/epsilon/info/barde_notes.html ''Notes on Ambient Music,'' Hyperreal Music Archive]</ref><ref name="ref42">"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 [http://hos.com/n_word.html ''New Age Music Made Simple'']</ref>

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 [[Relaxation technique|relaxation]], atmospherics for [[Bodywork (alternative medicine)|bodywork]] therapies, and effectiveness of [[meditation]].<ref name="hillpowers">"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 [http://hos.com/aboutmusic.html ''What is Spacemusic?'']</ref> Space music appears in many film [[soundtrack]]s and is commonly played in [[planetarium]]s.<ref name="bardeplanetarium">"This was the soundtrack for countless planetarium shows, on massage tables, and as soundtracks to many videos and movies."- Lloyd Barde [http://music.hyperreal.org/epsilon/info/barde_notes.html ''Notes on Ambient Music,'' Hyperreal Music Archive]</ref>

According to Hill space music is an [[Eclecticism in music|eclectic]] music produced almost exclusively by [[independent label]]s and it occupies a small [[Niche market|niche]] in the marketplace, supported and enjoyed by a relatively small audience of loyal enthusiastic listeners.<ref name="ref41">"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,   [http://www.ambientvisions.com/poweredbylove.htm ''Powered By Love: Niche Music in the New Millennium''],  feature article in  ''Ambient Visions Magazine'', 2002</ref>

== Definitions ==
Musicologist Joseph Lanza relates space music to prior generations of relaxing or environmental music, with a twist, writing, "Space music is [[easy-listening]] with amnesia, sounding like the future but retaining unconscious ties to [[elevator music]] of the past."<ref name="elevator185-1">{{cite book|title=Elevator Music: A Surreal History of Muzak, Easy-listening, and Other Moodsong|last= Lanza|first= Joseph|year=2004|publisher=University of Michigan Press|isbn= 0-472-08942-0|page=185}}</ref>

[[Allmusic]], one of the world's largest commercial databases of music-related information, defines Space music as a subgenre of New Age music.<ref name="ref19">[{{Allmusic|class=explore|id=genre/d117|pure_url=yes}} Allmusic New Age music page] - includes Space music as subgenre of New Age music.; [{{Allmusic|class=explore|id=style/d780|pure_url=yes}} Allmusic Space music page - subgenre of New Age music];  [{{Allmusic|class=explore|id=genre/d11605|pure_url=yes}} Allmusic Electronica music page] - does not list Space music as a subgenre; [{{Allmusic|class=explore|id=style/d226|pure_url=yes}} Allmusic Ambient music page] - does not list Space music as a subgenre.</ref> Similarly, mainstream retailer [[Barnes & Noble]], independent online music retailer [[CDBaby]], and RealNetwork's music download service [[Rhapsody (online music service)|Rhapsody]] all classify Space music as a subgenre of New Age music.<ref name="ref22">Barnes & Noble website - Space music is not listed on the[http://music.barnesandnoble.com/styles/browseAllStyle.asp?z=y main music genres page]. Space music is listed as a subgenre of New Age music on the[http://music.barnesandnoble.com/search/browseSubStyle.asp?z=y&TYP=P&parent_id=1000105 New Age music genre page], as is Ambient music.  Ambient also appears as a subgenre on the[http://music.barnesandnoble.com/search/browseSubStyle.asp?TYP=P&parent_id=1000100&z=y  Dance & DJ genre page], along with Electronic music.</ref><ref name="ref23">Space music is listed on the Rhapsody Music Service  [http://www.rhapsody.com/newage New Age music genre page] as a subgenre of New Age.  Space music is not listed on Rhapsody  [http://www.rhapsody.com/electronicadance electronica/dance genre page] or Rhapsody [http://www.rhapsody.com/electronicadance/ambient Ambient music subgenre page].</ref><ref name="ref25">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.  [http://cdbaby.com/style/electronic Electronic genre page], [http://cdbaby.com/style/newage New Age genre page].</ref> 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 music."<ref name="ref24">"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." [http://www.rhapsody.com/newage/space/more.html Rhapsody online music service - definition of Space Music on New Age music subgenre page]</ref>

Stephen Hill, co-founder of "Music from the [[Hearts of Space]]" (syndicated nationally in the USA on [[National Public Radio]] and [[XM Satellite Radio]]), uses the phrase "contemplative music, broadly defined" as an overview to describe the music played on his station, along with the term "spacemusic".<ref name="ref48">"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 [http://hos.com/history.html ''Contemplative Music, Broadly Defined'']</ref>
He states that the "genre spans historical, ethnic, and contemporary styles",<ref name="ref46"/> 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."<ref name="ref48"/> In his essay ''New age Music made Simple'', and in introducing the 200th broadcast of the "Hearts of Space" radio program, Hill has referred to space music as a sub-category of [[New Age music|New Age]].<ref name="ref42"/>

Hill's partner [[Anna Turner (producer)|Anna Turner]] (co-host and original [[radio co-producer|co-producer]] of "Music from the Hearts of Space") 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."<ref name="ref13">"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." [[Anna Turner (producer)|Anna Turner]], "Space Music", in ''The New Age Music Guide: Profiles and Recordings of 500 Top New Age Musicians'', edited by Patti Jean Birosik, p. 134 (New York: Collier Books; London: Collier MacMillan Publishing Company, 1989).</ref>

Gerardo "Pkx" Martinez-Casas, original host, producer and creator of <<link:0>>'s 90.3 FM, [[University of San Francisco]] 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.<ref name="ref90">"In the archives of KUSF 90.3 FM http://www.kusf.org/ University of San Francisco, California" "Archives meaning that if you email them with the name of the person, show and date they will confirm"</ref>

In her book ''The New Age Music Guide'',  author, editor and music critic P. J. Birosik classifies Space music as a subgenre of New Age music,<ref name="ref14">"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 ''The New Age Music Guide'', edited by P. J. Birosik, p. vii (New York: Collier Books; London: Collier Macmillan Publishing Company, 1989).</ref> as does Dallas Smith, writer, teacher and recording artist in his essay ''New Age Jazz/Fusion''.<ref name="ref15">"New Age Jazz/Fusion is distinguished from other New Age subgenres, especially space music, by its rhythm and identifiable melodies." Dallas Smith, ''New Age Jazz/Fusion'', page 46, ''The New Age Music Guide: Profiles and Recordings of 500 Top New Age Musicians'', edited by Patti Jean Birosik, p. 46 (New York: Collier Books; London: Collier MacMillan Publishing Company, 1989).</ref> [[Steven Halpern]], 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."<ref name="ref16">" '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 elecrto-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." Steven Halpern, ''Notes on New Age Music'', in ''The New Age Music Guide: Profiles and Recordings of 500 Top New Age Musicians'',  edited by Patti Jean Birosik, p. xix (New York: Collier Books; London: Collier MacMillan Publishing Company, 1989).</ref>

John Diliberto, the host of the radio show, [[Echoes (radio program)|Echoes]], and creater of [[WXPN's]] [[Star's End]],  has stated that space music is related to [[electronic music]],<ref name="ref5"/> as has Bay Area musician, composer and sound designer Robert Rich, who considers space music to be a combination of Electronic music influences from the 1970s with world music and "modern compositional methods".<ref name="ref17">"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." Robert Rich, quoted in [http://sfgate.com/cgi-bin/article.cgi?f=/c/a/2006/05/28/PKGKKIV3K81.DTL&type=music ''Plugged in to the Joy of Ambient Music'', by j. poet], ''San Francisco Chronicle'' (May 28, 2006).</ref>
Forest, host of [[Musical Starstreams]] 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".<ref name="ref18">"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 [http://www.ambientvisions.com/forest.htm Ambient Visions Magazine, 2003]</ref>
Similarly, [[WXPN]] Radio's [[Star's End]], programming ambient music since 1976, on its website lists Space music as a separate genre, along with Ambient, New Age, and others.

Steve Sande, freelance writer for the [[San Francisco Chronicle]] considers space music to be "Anything but New Age," and writes that  "spacemusic [is] also known as ambient, chill-out, mellow dub, down-tempo."<ref name="ref36a">"spacemusic, also known as ambient, chill-out, mellow dub, down-tempo ....Anything but New Age." Steve Sande, ''The sky's the Limit with Ambient Music'', [http://sfgate.com/cgi-bin/article.cgi?file=/chronicle/archive/2004/01/11/PKGAA45D9R1.DTL ''San Francisco Chronicle'' (Sunday, January 11, 2004)].</ref>
In the same article, he describes Stephen Hill's  "Hearts of Space" spacemusic program as streaming ambient, electronic, world, New Age and classical music.<ref name="ref36b">"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'', [http://sfgate.com/cgi-bin/article.cgi?file=/chronicle/archive/2004/01/11/PKGAA45D9R1.DTL ''San Francisco Chronicle'' (Sunday, January 11, 2004)].</ref> In contrast to this, according to author and [[National Endowment for the Arts]] researcher Judith H.  Balfe, ''Billboard'' editor Jerry Wood describes space music as a one of several "genres within the genre" of New Age music.<ref name="balfe280">{{cite book|title=Paying the Piper: Causes and Consequences of Art Patronage |last= Balfe |first= Judith H. |year= 1993 |publisher=University of Illinois Press|isbn= 0-252-06310-4]|page=280}}</ref>

== Variety ==
{{see also|Krautrock|Space Rock|Ambient music|New Age music|Meditation music|Space jazz}}
As described by Stephen Hill, the predominant defining element of spacemusic is its contemplative nature.<ref name="ref46"/><ref name="ref48"/>  Within that overview, Hill's definition of space music includes a wide variety of styles, instrumentation and influences - both acoustic or electronic.<ref name="rough"/><ref name="ref43"/>

While many space music recording artists specialize in electronic forms, evolving out of the traditional [[Kosmische musik]] of the [[Berlin School of electronic music|Berlin School]] (also known as [[Krautrock]]).<ref name="krautrock">{{cite web |url=http://geb.uni-giessen.de/geb/volltexte/2001/592/pdf/p010004.pdf |title=Space, Mysticism, Romantic Music, Sequencing, and the Widening of Form in German ''Krautrock'' during the 70's |author=Dr. Ulrich D. Einbrodt   |year= 2001  |format=PDF  |publisher= Justus Liebig University, Giessener Electronic Library }}</ref>

Author and classical music critic [[David Hurwitz (music critic)|David Hurwitz]] describes [[Joseph Haydn]]'s choral and chamber orchestra piece, ''The Creation'', 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 ''The Creation'' after discussing music and astronomy with [[William Herschel]], oboist and astronomer (discoverer of the planet Uranus).<ref name="haydn"/>

== Historical usage of the term ''space music'' ==

In 1928, the German composer [[Robert Beyer]] published a paper about "Raummusik" ([[spatial music]]),<ref>Robert Beyer, "Das Problem der ‘kommenden Musik,'" ''Die Musik'' 20, no. 12 (1928): 861–66. See also p. 36 in Lowell Cross, "Electronic Music, 1948–1953", ''Perspectives of New Music'' (Autumn-Winter 1968): 32–65, and p. 7 of David Dunn, "[http://www.scribd.com/doc/22877/David-Dunn-A-History-Of-Electronic-Music-Pioneers A History of Electronic Music Pioneers]", from the catalog of the exhibition Eigenwelt der Apparatewelt: Pioneers of Electronic Art, presented as part of Ars Electronica 1992, in Linz, Austria.</ref> which is an entirely different sense of the term. [[Karlheinz Stockhausen]], 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."<ref name="composers">{{cite book  | last = Schwartz | first = Elliott | coauthors = Barney Childs | title = Contemporary Composers on Contemporary Music | year = 1998  | publisher = Da Capo Press  | isbn = 0-306-80819-6   | page = 380 }}</ref> 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."<ref name="stockhausen">"In 1967, just following the world premier of ''[[Hymnen]]'', 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.' " Page 145,  ''Electronic and Experimental Music: Pioneers in Technology and Composition'', Thomas B. Holmes, Routledge Music/Songbooks, 2002, ISBN 0-415-93643-8</ref>

Music historian Joseph Lanza described the emerging [[light music]] style during the early 1950s as a precursor to modern space music.  He wrote that orchestra conductor [[Mantovani]] used new studio technologies to "create sound tapestries with innumerable strings" and in particular, "the sustained hum of Mantovani's [[reverb]]erated violins produced a sonic vaporizor foreshadowing the synthesizer harmonics of space music."<ref name="elevator80">{{cite book|title=Elevator Music: A Surreal History of Muzak, Easy-listening, and Other Moodsong|last= Lanza|first= Joseph|year=2004|publisher=University of Michigan Press|isbn= 0-472-08942-0|page=80}}</ref>

Jazz artist [[Sun Ra]] 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.<ref name="sunra">According to Author Norman Mailer in 1956, quoted on page 154: "a friend took me to hear a jazz musician named Sun Ra who played 'space music.' " and according to Sun Ra himself, also in 1956, quoted on page 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 page 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." -- [http://books.google.com/books?id=FC52qh7YQVgC&printsec=toc&dq=%22space+music%22&as_brr=3#PPA154,M1 ''Space is the Place'' By John F. Szwed, 1998, Da Capo Press]</ref>

Physicist [[Werner Meyer-Eppler]] had been inspired by Homer Dudley's 1948 invention of the [[Vocoder]] and began in 1951 to work with a device known as a [[Melochord]], in conjunction with  [[Tape recorder|magnetic tape recorders]], leading to a decade of working at the [[Hochschule für Musik Köln|Cologne school]] specializing in "elektronische Musik" using magnetic tape recorders, sine wave generators and [[Serialism|serial composition]] techniques.<ref>''A History of Electronic Music Pioneers'' 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.</ref>

In 1969, [[Miles Davis]] was introduced to the music of Stockhausen by young arranger and cellist, and later Grammy award winner, [[Paul Buckmaster]], 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."<ref name="chambers">{{cite book  | last = Chambers  | first = J. K.  | title = Milestones: The Music and Times of Miles Davis | year = 1998 | publisher = Da Capo Press | isbn = 0-306-80849-8   | page = 246.}}</ref> His recordings and performances during this period were described as  "space music" by fans, by music critic [[Leonard Feather]], and by Buckmaster who stated: "a lot of mood changes - heavy, dark, intense - definitely space music."<ref name="carr">{{cite book  | last = Carr  | first = Ian   | title = Miles Davis: The Definitive Biography | year = 1998 | publisher = Thunder's Mouth Press | isbn = 1-56025-241-3 | pages = 284, 303,  304, 306}}</ref>

In the late 1960s and early 1970s, the [[Grateful Dead]] 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 [[Aoxomoxoa]], and later in the 1980s, [[Infrared Roses]], and [[Grayfolded]].<ref name="dead1">"purveyors of freely improvised space music," -- [http://www.blender.com/guide/articles.aspx?id=932  Blender Magazine, May 2003]</ref><ref name="dead2">""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 [http://www.horschamp.qc.ca/new_offscreen/islands_part2.html Offscreen Journal], edited by Donato Totaro, Ph. D, film studies lecturer at Concordia University since 1990.</ref> Band member [[Phil Lesh]] released experimental space music recording ''Seastones'' with [[computer music]] pioneer [[Ned Lagin]] 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 [[digital synthesizer]]s in the early 1980s.

The [[Czech-American]] composer [[Václav Nelhýbel]], released in 1974 a record named [[Outer Space: Music by Vaclav Nelybel]]. 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.

Beginning in the early 1970s, the term "space music" was applied to some of the output of such artists as  [[Vangelis]], [[Jean-Michel Jarre]], [[Klaus Schulze]] and [[Tangerine Dream]],<ref name="krautrock"/> 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,<ref name="warped2">"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." [http://www.echoes.org/TimeWarped.html ''Time Warped in Space'' by Echoes Radio producer and host, John Diliberto].</ref><ref name="warped"/><ref name="cosmos2">"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." [http://observer.guardian.co.uk/print/0,,329781701-111639,00.html Reynolds, Simon. "Kings of the cosmos", in ''The Guardian'', April 22, 2007, retrieved May 13, 2007]</ref><ref name="junker">{{cite book  | coauthors = Detlef Junker, Philipp Gassert, Wilfried Mausbac David Brian Morris  | title = The United States and Germany in the Era of the Cold War, 1945-1990: A Handbook | year = 2004 | publisher = Cambridge University Press | isbn = 0-306-80849-8   | page = 342  | author = Jack Chambers.}}</ref> 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.<ref>{{cite book |title=The United States and Germany in the Era of the Cold War, 1945-1990: A Handbook  |last= Junker |first= Detlef |coauthors=Philipp Gassert, Wilfried Mausbach, David Brian Morris|year=2004|publisher=Cambridge University Press |isbn= 0-521-83420-1 |page=342}}</ref>  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.<ref name="warped3">"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." [http://www.echoes.org/TimeWarped.html ''Time Warped in Space'' by Echoes Radio producer and host, John Diliberto].</ref>

In 1971–72, Sun Ra brought his "space music" philosophy to [[UC Berkeley]] where he taught as [[artist-in-residence]] 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 [[KQED (TV)|KQED]] producer John Coney, producer [[Jim Newman (television producer)|Jim Newman]], and screen writer [[Joshua Smith (screenwriter)|Joshua Smith]] worked with Sun Ra to produce a 30 minute documentary film, expanded into a feature film released in 1974, entitled ''[[Space is the Place]]'', featuring Sun Ra's [[Arkestra]] and filmed in [[Golden Gate Park]].<ref name="sunrafilm">[http://www.outerspacewaysinc.com/index.htm official website for "Space is the Place"], documentary film about Sun Ra's Arkestra, filmed in 1972</ref>

In 1973, [[KPFA]] [[Berkeley, California]] radio producers [[Anna Turner (producer)|Anna Turner]] and [[Stephen Hill (broadcaster)|Stephen Hill]] used the phrase in the title of their local public radio show [[Hearts of Space|Music from the Hearts of Space]]. They developed an innovative [[segue]] 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.<ref>"Hill began the program as a volunteer at KPFA-FM, Berkeley, in 1973, and worked with Anna Turner as co-producer. Ten years later – January 8, 1983 – the program went national." ''Hearts of Space: a mellow carriage leader after a decade on the public radio satellite'' –  published February 1, 1993 in [http://www.current.org/rad/rad302h.html Current, "the newspaper about public television and radio in the United States"]</ref> Other US-based radio programmers adopted the term as well, among them, John Diliberto, Steve Pross, and Gino Wong with [[Star's End]], launched in 1976, Frank J. Forest (a.k.a. "Forest") with [[Musical Starstreams]], launched in 1981 and nationally syndicated in 1983, and John Diliberto again with [[Echoes (radio program)|Echoes]], launched in 1989.

== In film and television soundtracks ==

Examples of space music in film soundtracks include the [[Vangelis]] score to ''[[Blade Runner]]'',<ref name="AMGbladerunner">"...includes music in his 'classic' style, ethnically influenced e-music, deep sequences, symphonic synths, and sci-fi space music." ''Blade Runner soundtrack album review'' (Multi-CD extended version),  Jim Brenholts,  [http://www.windowsmedia.com/MediaGuide/Templates/AlbumInfo.aspx?a_id=R%20%20%20313657 Windows Media Guide, from Allmusic]</ref>
<ref name="vangelisbio">"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" ''Vangelis Papathanassiou Biography'', [http://www.newsfinder.org/site/more/vangelis_papathanassiou/  Newsfinder, A literary favour to world culture], Gus Leous, July 2003</ref>
[[Tangerine Dream]]'s moody soundtracks for ''[[Legend (Tangerine Dream soundtrack)|Legend]]'', ''[[Sorcerer (soundtrack)]]'' and ''[[Risky Business]]'',
<ref name="enotesdream">"The terms'' New Age'' and ''Space Music'' 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."  ''Tangerine Dream Biography'' [http://arts.enotes.com/contemporary-musicians/tangerine-dream-biography  Contemporary Musicians, Ed. Suzanne M. Bourgoin. Vol. 12.] Thomson Gale, 1994. eNotes.com. 2006</ref>
<ref name="SOSdream">" In 1983 the group made a substantial contribution to the soundtrack for the film ''Risky Business'',  .... the title piece, also known as ''Love On A Real Train'' 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 today.' "  ''Tangerine Dream - Their Changing Use Of Technology Part 2: 1977-1994'', [http://www.soundonsound.com/sos/1995_articles/jan95/tangerinedream2.html  Sound on Sound Magazine, January 1995]</ref>
[[Jonn Serrie]]'s surround-sound score for the [[IMAX]] short film, ''Hubble: Galaxies Across Space and Time'',
<ref name="serrieIMAX1">"the award-winning IMAX short film, Hubble: Galaxies Across Space and Time, ... 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 [http://hubblesite.org/newscenter/archive/releases/2004/16/text/ Hubble Telescope News Release], June 24, 2004</ref> [[Brian Eno]]'s score for the 1989 film ''For All Mankind'',<ref>{{cite book |title=History of the American Cinema |last= Harpole|first= Charles |coauthors=Charles Musser, Eileen Bowser, Richard Koszarski, Donald Crafton, Tino Balio, Thomas Schatz, Stephen Prince, David A. Cook, Paul Monaco, Peter Lev|year=2004|publisher=Simon and Schuster |isbn= 0-684-80493-X |page=385}}</ref> and [[Michael Stearns]]' soundtrack for the 1985 IMAX film, [[Chronos (film)|Chronos]], broadcast on Stephen Hill's ''Hearts of Space'' radio, on the film's opening night
<ref name="stearnsbio1">"[Michael Stearns] 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' bio on the [http://www.michaelstearns.com/past_bio.html Michael Sterns official website]</ref>

Television science-fiction series ''[[Babylon 5]]'' was scored by former Tangerine Dream member [[Christopher Franke]], released on CD in 1996 on Franke's independent label [[Sonic Images]]. The scores for many of the Babylon 5 TV movies and numerous Babylon 5 episodes<ref name="epCD">[http://christopherfranke.com/soloreleases.html]</ref> were also released by Sonic Images.<ref name="frankeTV">"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 ''Babylon 5'' and ''Klemania'',"  ''DECLARATIONS OF INDEPENDENTS'', [http://www.billboard.biz/bbbiz/search/article_display.jsp?vnu_content_id=753498 Billboard Magazine, January 27, 1996]</ref> In 1994, the  [[Germany|German]]  TV station [[Bayerischer Rundfunk]] launched the television program [[Space Night]],<ref name="spacenight">[http://www.br.de/fernsehen/br-alpha/sendungen/space-night/index.html Space night official website]</ref> featuring a constant flow of satellite and space images accompanied by space music programmed by European chill-out-DJ Alex Azary.

== Examples of artists who have been associated with space music ==

This list includes notable artists who have created works that have been categorised by some as space music:

{{Multicol}}
* [[Enigma (musical project)|Enigma]] - ''A Posteriori''<ref name="hos-enigma">{{cite web|url=http://hos.com/php/showProgram.php?program=0263|title=RIVERS OF BELIEF-an ENIGMAtic mix of the spiritual & the seductive|publisher=Hearts of Space |date=24 May 1991}}</ref>
* [[Brian Eno]] - ''Apollo'', ''Music for Airports''<ref name="hills-top-10"/>
* [[Edgar Froese]]<ref name="cosmos2"/>
* [[Geodesium]]<ref>[http://www.geodesium.com Planetarium Music]</ref> - ''A Gentle Rain of Starlight, Fourth Universe, West of the Galaxy, Double Eclipse''
* [[Lisa Gerrard]] - ''The Mirror Pool''<ref name="hills-top-10">{{cite news|title=The sky's the limit with ambient music|author=Steve Sande |url=http://sfgate.com/cgi-bin/article.cgi?file=/chronicle/archive/2004/01/11/PKGAA45D9R1.DTL |publisher=SF Chronicle|date=January 11, 2004|quote=10 essential spacemusic CDs, Selected by Stephen Hill of Hearts of Space}}</ref><ref>[http://www.hos.com/php/search.php?searchText=Lisa%20Gerrard Hearts of Space playlist]</ref>
* [[Michael Hedges]]<ref>[http://www.hos.com/php/showProgram.php?program=0660 Hearts of Space playlist]</ref> - ''[[Aerial_Boundaries|Aerial Boundaries (1984)]]''
* [[Paul Horn (musician)|Paul Horn]] - ''[[Inside (Paul Horn album)|Inside the Taj Mahal]]''<ref name="hills-top-10"/>
* [[Jean Michel Jarre]]<ref name="warped">Listed in "A Classic Space Music Countdown to Liftoff: 10 Essential classic space music albums, counting down from 10 to 1" [http://www.echoes.org/TimeWarped.html ''Time Warped in Space'' by Echoes Radio producer and host, John Diliberto].</ref><ref name="cosmos">"Pioneered by Tangerine Dream, Klaus Schulze and Walter Carlos, then popularised by Tomita, Jean Michel Jarre, and Vangelis, this genre - space music, some call it..." [http://observer.guardian.co.uk/print/0,,329781701-111639,00.html Reynolds, Simon. "Kings of the cosmos", in ''The Guardian'', April 22, 2007, retrieved May 13, 2007]</ref> - ''Oxygene, Equinoxe, Magnetic Fields, Rendez-Vous, Revolutions''
* [[Ray Lynch]]<ref>Patti Jean Birosik, ''The New Age Music Guide: Profiles and Recordings of 500 Top New Age Musicians'', p113, 1989, Collier MacMillan, ISBN 0-02-041640-7, "Deep Breakfast...one of the best-selling New Age Space music albums ever"</ref><ref>[http://www.theaffirmationspot.com/raylynch.html Affirmation Spot] "Ray Lynch...one of the luminaries of the "space music" genre"</ref>
* [[R. Carlos Nakai]]<ref>[http://www.insound.com/R._Carlos_Nakai/artistmain/artist/P+++++2703/ Insound Review of R. Carlos Nakai, ''Cycles, Vol. 2 (1985)''] "This is a set of heavenly space music compositions with their bases firmly in the Northern plains and Southwestern deserts. "</ref><ref>[http://www.mp3.com/albums/63402/reviews.html  Jim Brenholts, Allmusic, ''Sundance Season'', R. Carlos Nakai] "Nakai is one of the leading practitioners of this style. In his hands, the flute takes on space music qualities."</ref> - ''Cycles Volume 2''
* [[NASA]] (with Brain/Mind Research) - ''Symphonies of the Planets'' series<ref>Robert Lamb, "Symphonies of the Planets: Music from the Hearts of Space?", ''HowStuffWorks'', September 15, 2009. [http://blogs.howstuffworks.com/2009/09/15/symphonies-of-the-planets/]</ref>
* [[Mike Oldfield]]<ref>[http://www.hos.com/php/showProgram.php?program=0035 Hearts of Space playlist]</ref> - ''The Songs of Distant Earth''
* [[Oregon (band)|Oregon]]<ref>"As in previous Spacejazz excursions, we favor the more melodic or space creating players over the instrumental technicians. We'll be hearing from the group OREGON with music from 45th PARALLEL;" -- Music from the Hearts of Space, Program 260 : "Spacejazz 6 Animato"</ref>
* [[Giles Reaves]] - ''Wunjo'', ''Nothing Is Lost'', ''Sea of Glass'',<ref>[{{Allmusic|class=artist|id=p2741|pure_url=yes}} Billboard Chart 1992] cited in ''Allmusic''</ref> ''Kaleida Visions'', ''Sacred Space''
* [[Steve Roach (musician)|Steve Roach]] - ''Structures From Silence''<ref name="warped"/><ref name="hills-top-10"/>
* [[Klaus Schulze]]<ref name="warped"/><ref name="cosmos"/> - ''Moondawn, Cyborg''
* [[Jonn Serrie]]<ref name="warped"/> - ''Midsummer Century, Ixlandia''
{{Multicol-break}}
* [[Michael Stearns]]<ref name="warped"/> - ''Desert Moon Walk, Planetary Unfolding, Lyra Sound Constellation, Encounter''
* [[Tim Story]] - ''Shadowplay''<ref name="hills-top-10"/>
* [[Tangerine Dream]]<ref name="warped"/><ref name="cosmos"/><ref>"Among the first, and arguably the best to bring that psychedelic ethos into the electronic age was Tangerine Dream. While their 1970 debut, Electronic Meditation, sounded like Karlheinz Stockhausen meeting the Grateful Dead, their later albums essayed the sound that would be the template of space music." [http://www.echoes.org/TimeWarped.html ''Time Warped in Space'' by Echoes Radio producer and host, John Diliberto].</ref> - ''Alpha Centauri''
* [[Isao Tomita]]<ref name="cosmos"/> - ''[[Snowflakes are Dancing]] considered the ultimate Space Album of All Time''; ''The Planets, Kosmos, Space Walk and Mind of the Universe''
* [[Vangelis]]<ref name="warped"/><ref name="cosmos"/> - ''Albedo 0.39, Spiral, Mythodea''
* [[George Winston]]<ref>[http://www.enotes.com/contemporary-musicians/winston-george-biography eNotes biography of George Winston] "prime acoustic example of what is popularly called new age space music"</ref>

== See also ==
{{Multicol}}
* [[Space rock]]
* [[Ambient music]]
* [[Soundscape]]
* [[Electronic art music]]
* [[New Age music]]
{{Multicol-break}}
* [[Synthesizer]]
* [[Chillout music]]
* [[Downtempo]]
* [[Space disco]]
* [[Program music]]
* [[Drone music]]
{{Multicol-end}}

== Footnotes ==
{{reflist|2}}

== Further reading ==

* Prendergast, Mark. Eno, Brian (Foreword) (2001). ''The Ambient Century: From Mahler to Trance: The Evolution of Sound in the Electronic Age''. Bloomsbury USA. ISBN 1-58234-134-6.

[[Category:Ambient music]]
[[Category:Electronic music genres]]
[[Category:Film music]]
[[Category:New Age music]]
[[Category:Radio formats]]

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