Ambient music

Ambient music is a genre of music that emphasizes tone and atmosphere over traditional musical structure or rhythm. A form of instrumental music, it may lack net composition, beat, or structured melody.[5] It uses textural layers of sound which can reward both passive and active listening[6] and encourage a sense of calm or contemplation.[7][8] The genre is said to evoke an "atmospheric", "visual",[9] or "unobtrusive" quality.[10] Nature soundscapes may be included, and the sounds of acoustic instruments such as the piano, strings and flute may be emulated through a synthesizer.[11]

Ambient music
Stylistic origins
Cultural origins1960s and 1970s, United Kingdom, Jamaica[2] and Japan[3][4]
Derivative forms
Subgenres
Fusion genres
Other topics

    The genre originated in the 1960s and 1970s, when new musical instruments were being introduced to a wider market, such as the synthesizer.[12] It was presaged by Erik Satie's furniture music and styles such as Jamaican dub music and German electronic music, but was prominently named and popularized by British musician Brian Eno in 1978 with his album Ambient 1: Music for Airports; Eno opined that ambient music "must be as ignorable as it is interesting."[13] It saw a revival towards the late 1980s with the prominence of house and techno music, growing a cult following by the 1990s.[14] Ambient music may have elements of new-age music and drone music, as some works may use sustained or repeated notes.[15]

    Ambient music did not achieve large commercial success, being criticized as having a "boring" and "over-intellectual" sound.[16] Nevertheless, it has attained a certain degree of acclaim throughout the years, especially in the Internet age. Due to its relatively open style, ambient music often takes influences from many other genres, ranging from classical, avant-garde music, folk, jazz, and world music, amongst others.[17][18]

    History

    Origins
    Erik Satie is acknowledged as an important precursor to modern ambient music and an influence on Brian Eno.

    As an early 20th-century French composer, Erik Satie used such Dadaist-inspired explorations to create an early form of ambient/background music that he labeled "furniture music" (Musique d'ameublement). This he described as being the sort of music that could be played during a dinner to create a background atmosphere for that activity, rather than serving as the focus of attention.[19]

    In his own words, Satie sought to create "a music...which will be part of the noises of the environment, will take them into consideration. I think of it as melodious, softening the noises of the knives and forks at dinner, not dominating them, not imposing itself. It would fill up those heavy silences that sometime fall between friends dining together. It would spare them the trouble of paying attention to their own banal remarks. And at the same time it would neutralize the street noises which so indiscreetly enter into the play of conversation. To make such music would be to respond to a need."[20][21]

    In 1952 John Cage released his famous three-movement composition[22][23] 4'33 which is a performance of complete silence for four minutes and thirty-three seconds. The piece is intended to capture the ambient sounds of the venue/location of the performance and have that be the music played.[24] Cage has been cited by seminal artists such as Brian Eno as influence.[24]

    1960s

    In the 1960s, many music groups experimented with unusual methods, with some of them creating what would later be called ambient music. In 1969, the group COUM Transmissions were performing sonic experiments in British art schools.[25] Many pieces of ambient music were released in England and the United States of America between the late 1960s and the 1990s.[26] Some 1960s music with ambient elements include Music for Yoga Meditation and Other Joys and Music for Zen Meditation by Tony Scott, and Soothing Sounds for Baby by Raymond Scott.

    1970s

    Developing in the 1970s, ambient stemmed from the experimental and synthesizer-oriented styles of the period. Brian Eno played a key role in its development and popularization. However, Jamaican dub musicians such as King Tubby,[2] Japanese electronic music composers such as Isao Tomita,[3][4] as well as the psychoacoustic soundscapes of Irv Teibel's Environments series, and German bands such as Popol Vuh, Ash Ra Tempel and Tangerine Dream, predate Eno in the creation of ambient music and/or were contemporaneous with him.

    The concept of background or furniture music had already existed some time before, but only in the 70s was ambient music first created, which incorporated New Age ideals with the newly invented modular synthesizer. Eno went on to record 1975's Discreet Music with this in mind, suggesting that it be listened to at "comparatively low levels, even to the extent that it frequently falls below the threshold of audibility",[20] referring to Satie's quote about his musique d'ameublement.[27]

    The impact the rise of the synthesizer in modern music had on ambient as a genre cannot be overstated; as Ralf Hutter of early electronic pioneers Kraftwerk said in a 1977 Billboard interview: "Electronics is beyond nations and colors...with electronics everything is possible. The only limit is with the composer".[28] The Yellow Magic Orchestra developed a distinct style of ambient electronic music that would later be developed into ambient house music.[29]

    Brian Eno
    Brian Eno (pictured in 2008) is credited with coining the term "ambient music"

    The English producer Brian Eno is credited with coining the term "ambient music" in the mid-1970s. He said other artists had been creating similar music, but that "I just gave it a name. Which is exactly what it needed ... By naming something you create a difference. You say that this is now real. Names are very important."[30] He used the term to describe music that is different from forms of canned music like Muzak.[31]

    In the liner notes for his 1978 album Ambient 1: Music for Airports, Eno wrote:[32]

    Whereas the extant canned music companies proceed from the basis of regularizing environments by blanketing their acoustic and atmospheric idiosyncrasies, Ambient Music is intended to enhance these. Whereas conventional background music is produced by stripping away all sense of doubt and uncertainty (and thus all genuine interest) from the music, Ambient Music retains these qualities. And whereas their intention is to "brighten" the environment by adding stimulus to it (thus supposedly alleviating the tedium of routine tasks and leveling out the natural ups and downs of the body rhythms) Ambient Music is intended to induce calm and a space to think. 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.

    Eno, who describes himself as a "non-musician", termed his experiments "treatments" rather than traditional performances.[32][33]

    1980s

    The continued development of the synthesizer, namely the FM synthesizer, was instrumental in the maturing of ambient music throughout the 1980s. With the commercial release of synthesizers such as the Yamaha DX7 and the Korg M1 in the mid 1980s, the possibilities to create a sonic landscape increased through the use of sampling. Many of these FM synthesizers included capabilities of MIDI clock synching and external hardware compatibility, allowing the music to be much more textured than before. By the late 1980s there was a steep increase in the incorporation of the computer in the writing and recording process of records. The sixteen-bit Macintosh platform with built-in sound, and comparable IBM models would find themselves in studios and homes of musicians and record makers.[34]

    1990s

    By the early 1990s, artists such as the Orb, Aphex Twin, Seefeel, the Irresistible Force, Geir Jenssen's Biosphere, and the Higher Intelligence Agency gained commercial success and were being referred to by the popular music press as ambient house, ambient techno, IDM or simply "ambient". The term chillout emerged from British ecstasy culture which was originally applied in relaxed downtempo "chillout rooms" outside of the main dance floor where ambient, dub and downtempo beats were played to ease the tripping mind.[35][36]

    London artists such as Aphex Twin (specifically: Selected Ambient Works Volume II, 1994), Global Communication (76:14, 1994), The Future Sound of London (Lifeforms, 1994, ISDN, 1994), The Black Dog (Temple of Transparent Balls, 1993), Autechre (Incunabula, 1993, Amber, 1994), Boards of Canada, and The KLF's seminal Chill Out, 1990, all took a part in popularising and diversifying ambient music where it was used as a calming respite from the intensity of the hardcore and techno popular at that time.[35]

    2000s–present
    Sounds of natural habitats are common in YouTube uploads, with their thumbnails typically having images of natural landscapes to attract listeners.

    Ambient compositions are often quite lengthy, much longer than more popular, commercial forms of music. By the late 2000s and 2010s, ambient music gained the most popularity and widespread recognition through Internet, namely on YouTube, with uploaded pieces, usually ranging from 1 to 8 hours long, getting over millions of hits. Such videos are usually titled, or are generally known as, "relaxing music", and may be influenced by other music genres. Ambient videos assist online listeners with yoga, study, sleep, massage, meditation and gaining optimism, inspiration, and creating peaceful atmosphere in their rooms or other environments.[37]

    Many uploaded ambient videos tend to be influenced by biomusic where they feature sounds of nature, though the sounds would be modified with reverbs and delay units to make spacey versions of the sounds as part of the ambience. Such natural sounds oftentimes include those of a beach, rainforest, thunderstorm and rainfall, among others, with vocalizations of animals such as bird songs being used as well. Pieces containing binaural beats are common and popular uploads as well, which provide music therapy and stress management for the listener.[38]

    Verified YouTube channels, such as aptly titled Ambient has over 400,000 subscribers.[39] Other verified channels that also publish ambient music include, Meditation Relax Music, which has over 1 million subscribers,[40] Soothing Relaxation with 3 million subscribers,[41] and Relaxing White Noise with over 500,000 subscribers, among others. iTunes and Spotify have digital radio stations that feature ambient music, which are mostly produced by independent labels.[5]

    Acclaimed ambient music of this era included works by Max Richter, William Basinski and electronic artist Oneohtrix Point Never.[42][43][44][45]

    Ambient dub
    See also: Dub music and Psydub

    Ambient dub involves the genre melding of dub styles. It was pioneered by King Tubby and other Jamaican sound artists from the 1960s to the early 1970s, using DJ-inspired ambient electronica, complete with all the inherent drop-outs, echo, equalization and psychedelic electronic effects. It often features layering techniques and incorporates elements of world music, deep bass lines and harmonic sounds.[2] According to David Toop, "Dub music is like a long echo delay, looping through time...turning the rational order of musical sequences into an ocean of sensation."[46] Notable artists within the genre include Dreadzone, Higher Intelligence Agency, The Orb, Gaudi,[47] Ott, Loop Guru, Woob and Transglobal Underground[48] as well as Banco de Gaia.

    Ambient house
    Main article: 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.[49] Tracks in the ambient house genre typically feature four-on-the-floor beats, synth pads, and vocal samples integrated in an atmospheric style.[49] Ambient house tracks generally lack a diatonic center and feature much atonality along with synthesized chords. The Dutch Brainvoyager is an example of this genre. Illbient is another form of ambient house music.

    Ambient techno
    Main article: Ambient techno

    Ambient techno is a music category emerging in the late 1980s that is used to describe ambient music atmospheres with the rhythmic and melodic elements of techno.[50] Notable artists include Aphex Twin, B12, Autechre, and The Black Dog.

    Ambient industrial

    Ambient industrial is a hybrid genre of industrial and ambient music; the term industrial being used in the original experimental sense, rather than in the sense of industrial metal.[51] A "typical" ambient industrial work (if there is such a 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 or anything else the artist might care to sample (often processed to the point where the original sample is no longer recognizable).[51] Entire works may be based on radio telescope recordings, the babbling of newborn babies, or sounds recorded through contact microphones on telegraph wires.[51]

    Ambient pop
    Main article: Ambient pop

    Ambient pop is an extension of dream pop, possessing a shape and form common to conventional pop, while its electronic textures and atmospheres mirror the meditative qualities of ambient. It is influenced by the lock-groove melodies of krautrock, but is less abrasive.[52]

    Dark ambient
    Main article: Dark ambient
    See also: List of dark ambient artists

    Brian Eno's original vision of ambient music as unobtrusive musical wallpaper, later fused with warm house rhythms and given playful qualities by the Orb in the 1990s, found its opposite in the style known as dark ambient. Populated by a wide assortment of personalities—ranging from older industrial and metal experimentalists (Scorn's Mick Harris, Current 93's David Tibet, Nurse with Wound's Steven Stapleton) to electronic boffins (Kim Cascone/PGR, Psychick Warriors Ov Gaia), Japanese noise artists (K.K. Null, Merzbow), and latter-day indie rockers (Main, Bark Psychosis) – dark ambient features toned-down or entirely missing beats with unsettling passages of keyboards, eerie samples, and treated guitar effects. Like most styles related in some way to electronic/dance music of the '90s, it's a very nebulous term; many artists enter or leave the style with each successive release.[53] Related styles include ambient industrial (see below) and isolationist ambient.

    Space music
    Main article: 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.[54][55][56]

    Space music ranges from simple to complex sonic textures sometimes lacking conventional melodic, rhythmic, or vocal components,[57][58] generally evoking a sense of "continuum of spatial imagery and emotion",[59] beneficial introspection, deep listening[60] and sensations of floating, cruising or flying.[61][62]

    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[63] and soundscapes. Space music is also a component of many film soundtracks and is commonly used in planetariums, as a relaxation aid and for meditation.[64]

    Notable ambient-music shows on radio and via satellite
    • Sirius XM Chill plays ambient, chillout and downtempo electronica.
    • Echoes, 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.[65][66]
    • 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.[67]
    • Ultima Thule Ambient Music, a weekly 90-minute show broadcast since 1989 on community radio across Australia.
    • Avaruusromua, the name meaning "space debris", is a 60-minute ambient and avant-garde radio program broadcast since 1990 on Finnish public broadcaster YLE's various stations.[68]
    • World of Ambient, a bi-weekly 60-minute show featuring beatless ambient, space music and drones, hosted by Stars Over Foy and broadcast on Di.fm.
    gollark: That's a nice infographic. I like the hexagons.
    gollark: (my internet connection is very unstable right now, I'm having to type very slowly on my phone)
    gollark: Which eventually happened two weeks later.
    gollark: Then nothing until around the start of March when it seemed possible for schools to close and such.
    gollark: Apparently the first mention of coronavirus in my journal (it's computerized so I can search it very easily) was from January, and me mentioning that some teacher had been mentioning it at school.

    See also

    References
    1. Drone is now classified as a subgenre of ambient music, but early drone music influenced the origin of ambient. See the other note from Cambridge History of Twentieth-Century Music (Cook & Pople 2004, p. 502), and the note from Four Musical Minimalists (Potter 2002, p. 91).
    2. Holmes, Thom (2008). Electronic and Experimental Music: Technology, Music, and Culture. Routledge. p. 403. ISBN 978-0203929599. Retrieved 1 April 2013.
    3. Q&A with Isao Tomita Archived 2017-04-24 at the Wayback Machine, Tokyo Weekender
    4. Isao Tomita, an Early Major Japanese Electronic Composer, Is Dead Archived 2017-04-24 at the Wayback Machine, Vice
    5. The Ambient Century by Mark Prendergast, Bloomsbury, London, 2003.
    6. Elevator Music: A Surreal History of Muzak, Easy Listening & Other Moodsong by Joseph Lanza, Quartet, London, 1995.
    7. Crossfade: A Big Chill Anthology, Serpents Tail, London, 2004.
    8. "Ambient music - Definition of ambient by Dictionary.com". Dictionary.com. Archived from the original on 2018-02-12.
    9. Prendergast, M. The Ambient Century. 2001. Bloomsbury, USA
    10. "Ambient – Definition of ambient by Merriam-Webster". merriam-webster.com. Archived from the original on 2015-04-20.
    11. "Ambient – Definition of ambient by Cambridge Dictionary". dictionary.cambridge.org. Archived from the original on 2018-02-12.
    12. Lanza, Joseph (2004). Elevator Music: A Surreal History of Muzak, Easy-listening, and Other Moodsong. University of Michigan Press. p. 185. ISBN 0-472-08942-0.
    13. Eno, Brian. "Music for Airports". Archived from the original on 29 January 2013. Retrieved 8 July 2013.
    14. "Music Genres – AllMusic". AllMusic. Archived from the original on 2012-02-13.
    15. George Grove, Stanley Sadie, The New Grove Dictionary of Music and Musicians, Macmillan Publishers, 1st ed., 1980 (ISBN 0-333-23111-2), vol. 7 (Fuchs to Gyuzelev), "André-Ernest-Modeste Grétry", p. 708: "in L'épreuve villageoise, where the various folk elements – couplet form, simplicity of style, straightforward rhythm, drone bass in imitation of bagpipes – combine to express at once ingenuous coquetry and sincerity."
    16. "AllMusic". Archived from the original on 2011-11-14.
    17. New Sounds: The Virgin Guide To New Music by John Schaefer, Virgin Books, London, 1987.
    18. "Each spoke, tracing a thin pie-shape out of the whole, would contribute to the modern or New Ambient movement: new age, neo-classical, space, electronic, ambient, progressive, jazzy, tribal, world, folk, ensemble, acoustic, meditative, and back to new age... "New Age Music Made Simple Archived 2010-04-05 at the Wayback Machine
    19. Jarrett, Michael (1998). Sound Tracks: A Musical ABC, Volumes 1–3. Temple University Press. p. 1973. ISBN 978-1-56639-641-7.
    20. "/seconds". slashseconds.org. Archived from the original on 2016-03-04. Retrieved 2016-04-05.
    21. "Epsilon: Ambient Music, Beginnings and Implications, by Chris Melchior". music.hyperreal.org. Archived from the original on 2016-03-05. Retrieved 2016-04-05.
    22. Pritchett, Kuhn, Grove.
    23. Kostelanetz 2003, 69–71, 86, 105, 198, 218, 231.
    24. Hermes, Will (May 8, 2000). "The Story Of '4'33"'". Npr. Retrieved March 11, 2020.
    25. Eliot Bates, "Ambient Music", MA thesis (Middletown, Connecticut: Wesleyan University, 1997, pg.19)
    26. "Ambient Music as Popular Genre: Historiography, Interpretation, Critique"
    27. Tamm, Eric (1995). Brian Eno: His Music and the Vertical Color of Sound. De Capo Press. ISBN 0-306-80649-5.
    28. "AmbientMusicGuide.com – A history of ambient". www.ambientmusicguide.com. Archived from the original on 2016-03-13. Retrieved 2016-04-05.
    29. Yellow Magic Orchestra at AllMusic. Retrieved 2011-05-25.
    30. Morley, Paul (2010-01-17). "On gospel, Abba and the death of the record: an audience with Brian Eno | Interview". the Guardian. Retrieved 2018-10-21.
    31. The essential guide to Brian Eno in 10 records – The Vinyl Factory
    32. Brian Eno, [ Music for Airports liner notes], September 1978
    33. Potter, Keith (2002). Four Musical Minimalists: La Monte Young, Terry Riley, Steve Reich, Philip Glass (rev. pbk from 2000 hbk ed.). Cambridge University Press. pp. [ 91]. ISBN 978-0-521-01501-1. (Quoting Brian Eno saying "La Monte Young is the daddy of us all" with endnote 113 p. [ 349] referencing it as "Quoted in Palmer, A Father Figure for the Avant-Garde, p. 49".)
    34. Webster, Peter (September 2002). "Historical Perspectives on Technology and Music". Music Educators Journal. 89 (1): 38–43, 54. doi:10.2307/3399883. JSTOR 3399883.
    35. Altered State: The Story of Ecstasy Culture and Acid House, Matthew Collin, 1997, Serpent's Tail ISBN 1-85242-377-3
    36. Childs, Peter; Storry, Mike, eds. (2002). "Ambient music". Encyclopedia of Contemporary British Culture. London: Routledge. p. 22.
    37. Yehuda, Nechama (2011). "Music and Stress". The Journal of Adult Development. 18 (2): 85–94. doi:10.1007/s10804-010-9117-4.
    38. How Music Works by David Byrne, McSweeney's, 2012.
    39. Ambient – Youtube Channel Archived 2018-02-12 at the Wayback Machine
    40. "Meditation Relax Music". YouTube. Archived from the original on 2018-02-21.
    41. "Soothing Relaxation". YouTube. Archived from the original on 2018-02-16.
    42. The 50 Best Ambient Albums of All Time – Pitchfork
    43. The 50 Best Ambient Albums of All Time – Pitchfork
    44. The 50 Best Ambient Albums of All Time – Pitchfork
    45. The 50 Best Ambient Albums of All Time – Pitchfork
    46. Toop, David (1995). Ocean of Sound. Serpent's Tail. p. 115. ISBN 9781852423827.
    47. https://www.allmusic.com/artist/gaudi-mn0000800405/biography
    48. Mattingly, Rick (2002). The Techno Primer: The Essential Reference for Loop-based Music Styles. Hal Leonard Corporation. p. 38. ISBN 0634017888. Retrieved 1 April 2013.
    49. "Ambient House". AllMusic. Archived from the original on June 5, 2011. Retrieved October 4, 2006.
    50. "Electronic » Techno » Ambient Techno". Retrieved January 8, 2010.
    51. Werner, Peter. "Epsilon: Ambient Industrial". Music Hyperreal. Archived from the original on August 5, 2012. Retrieved December 11, 2011.
    52. "Ambient Pop". AllMusic. Archived from the original on 2017-07-18.
    53. AllMusic. "Dark Ambient: Significant Albums, Artists, and Songs". Archived from the original on 21 June 2014. Retrieved 8 July 2013.
    54. "... 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? Archived 2006-03-25 at the Wayback Machine
    55. "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 Archived 2007-09-27 at the Wayback Machine
    56. "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? Archived 2006-03-25 at the Wayback Machine
    57. "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 Archived 2010-12-25 at the Wayback Machine
    58. "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 Archived 2007-06-14 at the Wayback Machine
    59. "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 Archived 2010-04-05 at the Wayback Machine
    60. "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 Archived 2010-04-05 at the Wayback Machine
    61. "...Spacemusic ... conjures up either outer "space" or "inner space" " – Lloyd Barde, founder of Backroads Music Notes on Ambient Music, Hyperreal Music Archive Archived 2007-09-29 at the Wayback Machine
    62. "Space And Travel Music: Celestial, Cosmic, and 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 Archived 2010-04-05 at the Wayback Machine
    63. " 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? Archived 2006-03-25 at the Wayback Machine
    64. "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 Archived 2007-09-29 at the Wayback Machine
    65. "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 Archived 2010-12-25 at the Wayback Machine
    66. "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 Archived August 11, 2007, at the Wayback Machine
    67. "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 Archived 2007-08-14 at the Wayback Machine
    68. "Avaruusromua 25 vuotta radiossa ja kerran televisiossa!". yle.fi. Archived from the original on 2016-06-25.
    This article is issued from Wikipedia. The text is licensed under Creative Commons - Attribution - Sharealike. Additional terms may apply for the media files.