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Space music , also spelled spacemusic , is an umbrella term, synonymous with a segment of New Age Music and Ambient Music, used to describe music that evokes a feeling of contemplative spaciousness. Space music can be found within a wide range of genres. It is particularly associated with ambient, New Age, and electronic music. Some claim that music from the western classical, world, Celtic, traditional, experimental and other idioms also falls within the definition of space music.
Space music ranges from simple to complex sonic textures, often (though not exclusively) lacking conventional melodic, rhythmic, or vocal components, typically evoking a "continuum of spatial imagery and emotion" , beneficial introspection, attentiveness for deep listening, subtle trance effects called "spacey", (defined by the Compact Oxford Dictionary as "drifting and ethereal") and psychoacoustic spatial perceptions, particularly, sensations of flying, floating, cruising, gliding, or hovering.
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, atmospherics for bodywork therapies, and effectiveness of meditation. Space music appears in many film soundtracks and is commonly played in planetariums.
An eclectic form of music, produced almost exclusively by independent labels, space music occupies a small niche in the marketplace, supported and enjoyed by a relatively small audience of loyal enthusiastic listeners.
The Different Skies Electronic Space Music Festival and Concert has been held annually since 2003 at Arcosanti in central Arizona.
Definitions
The term "space music" has evolved and changed since it was first used over 50 years ago. While there is a general agreement among contemporary Space music radio programmers, music critics, authors, and record producers about the sound and uses of the music, there is little agreement about how to define the term and how space music fits within the continuum of music genres.
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". 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 "Hearts of Space" radio program, Hill has referred to space music as a sub-category of New Age.
Hill's partner Anna Turner (co-host and original 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."
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, as does Dallas Smith, writer, teacher and recording artist in his essay New Age Jazz/Fusion . 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."
Music critic Lloyde Barde, founder of Backroads music, has also used a variety of definitions for Space music over time. He has referred to it as a type of Ambient music, along with the closely related genre New Age music, and has also stated the opposite; that Space music is a separate genre, with a distinct identity not part of Ambient or Electronic music, "while drawing from any number of traditional, ethnic, or modern styles."
Radio programmer John Dilaberto has stated that space music is related to electronic music,, 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". 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". 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 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 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.
Allmusic, one of the world's largest commercial databases of music-related information, defines Space music as a subgenre of New Age music. Similarly, mainstream retailer Barnes & Noble, independent online music retailer CDBaby, and RealNetwork's music download service Rhapsody 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 music."
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."
Variety
As described by Stephen Hill, the predominant defining element of spacemusic is its contemplative nature. Within that overview, space music includes a wide variety of styles, instrumentation and influences - both acoustic or electronic. For example, the playlist archives of the "Hearts of Space" program lists the following genres as included in their programming:
- Electronic space music: Electronic Space, Ambient/Downtempo, Ethno/Ambient
- Acoustic or partially acoustic space music - Regional or national: African/Sub-Saharan, Celtic, Japanese, Scandinavian/Arctic, Central Asian, Latin American, Southeast Asian/Indonesian, Chinese, Mediterranean, Middle Eastern/North African, Spanish/Moorish, Tibetan, Native American, World Fusion, East Indian
- Acoustic or partially acoustic space music - Western:Contemporary Instrumental, New Vocal, Holiday, Miscellaneous/Eclectic, Space Jazz, Sacred/Choral, Guitar, Piano, Orchestral/Chamber
While many space music recording artists specialize in electronic forms, evolving out of the traditional Kosmische musik of the Berlin School (also known as Krautrock), examples of recording artists who create the contemplative experience of space music using acoustic instruments and influences of cultures from around the world are plentiful: Andreas Vollenweider (harp), George Winston (piano), Carlos Nakai and Coyote Oldman (Native American flutes), David Darling (cello), Paul Horn (woodwinds), Paul Winter (saxophone), and more. Examples of Space music artists using combinations of acoustic and electronic instruments are Deuter (flute and other esoteric instruments), Kitaro (Japanese drums and synthesizers), Laraaji (acoustic zither with electronic processing), Constance Demby (hammered dulcimer, cello, vocals, custom acoustic instruments and synthesizers), Oregon (world music influenced jazz), Mychael Danna (ethnic instruments and orchestra with electronic minimalism), and others.
Author and classical 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).
History
In 1928, the German composer Robert Beyer published a paper about "Raummusik" (spatial music), 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&#
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