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Please add the quality rating to the {{WikiProject banner shell}} template instead of this project banner. See WP:PIQA for details. Electronic music Mid‑importance This article is within the scope of WikiProject Electronic music, a collaborative effort to improve the coverage of Electronic music on Misplaced Pages. If you would like to participate, please visit the project page, where you can join the discussion and see a list of open tasks.Electronic musicWikipedia:WikiProject Electronic musicTemplate:WikiProject Electronic musicelectronic music Mid This article has been rated as Mid-importance on the project's importance scale. Please add the quality rating to the {{WikiProject banner shell}} template instead of this project banner. See WP:PIQA for details. Music/Music genres task force Space music is within the scope of the Music genres task force of the Music project, a user driven attempt to clean up and standardize music genre articles on Misplaced Pages. Please visit the task force guidelines page for ideas on how to structure a genre article and help us assess and improve genre articles to good article status.Music/Music genres task forceWikipedia:WikiProject Music/Music genres task forceTemplate:WikiProject Music/Music genres task forcemusic genre

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OR&SYN Tags

Despite this being a somewhat informative article there are many problems with it. It is clear that a wide range of sources (many of them weak) are being combined to forward a synthesized, original research based article. WP:OR and WP:SYN guidelines are clearly contravened. Many of the citations are WP:POV comments left by contributing editors and are supported by self-published sources and internet items. This is problematic in relation to WP:RS policy. It seems evident that there are few if any verifiable secondary sources provided, that one could consider references on the subject of space music. A reference list would be useful, in addition to the notes, so that we can see exactly what the sources are, at glance. It would be good if the main editors involved in this article would endeavor to improve the referencing and tone down the synthesis so that it can be clearly shown that content reflects the view of reliable published sources that deal specifically with the subject space music. It is requested that the tags remain in place until the issues are addressed. Thanks. Semitransgenic (talk) 17:20, 7 November 2008 (UTC)

This is by far the best article in the New Age music topics, and with 102 references, one of the numerically most referenced articles in WP's popular music topics. Many months of intense research effort have been invested in this article (as well as painful personal conflicts endured) by a number of editors.

"WP:RS" This is also the best article that can be written with the available sources, academic and popular, primary and secondary. Writing an article to include substantial primary sources is acceptable if best efforts have been made to locate secondary sources that make the same points. That has been done here.

WS:RS has historically been edited back and forth, which means there was no consensus in the fine details. At the time most of this article was written, what was considered reliable was based on the context. The context of niche popular music is very much a matter of artistic opinions mostly not published in journals or newspapers.

Also, the WP practice (which was at one time actually written into guiderules) is to give more slack to the exposition of art and music articles.

That means it comes down to a debate over slack. Given that this article is already, say, 90% as good as it can be, does Misplaced Pages have enough slack to include it more or less referenced as is?

"WP:OR and WP:SYN" I doubt it. Every reference has been vetted for OR and debated, some more than once. A few issues were spotted and corrected after an independent review. You'll need to identify specifics, not generalizations.

I also disagree with your generalizations, and I'm unable to identify any fixable examples of your general complaints. Drive-by tagging need not be tolerated where nothing is obviously wrong, and the tagger is unable or unwilling to provide and debate specific examples for improvement. Accordingly I will vet and debate specific examples that you provide, but if you are unable to do so, or the lack the time for months of lengthy debates which this article has generated in the past, I will be removing the tags. Milo 20:28, 7 November 2008 (UTC)

I strongly endorse Semitransgenic's analysis. The current article is founded upon, and lends significant undue weight to an unverifiable, unsustainable original research theory which has been lent the appearance of authority via the contrivance of having volumes of cherry-picked primary sources and selectively (mis)quoted third party sources insinuated into it. All of the above is deeply problematic, and an objective analysis of the situation by uninvolved editors at this juncture is a very welcome development. --Gene_poole (talk) 20:42, 7 November 2008 (UTC)

All I know is that I have viewed one of the few published sources that deals specifically with space music and it paints a rather different picture to what is painted in this article. Lanza (1994:185) states very clearly Space music is, in fact, easy-listening with amnesia, sounding like the future but retaining unconscious ties to elevator music of the past. Also, Space music can then be regarded as an outgrowth of easy-listening that is even further removed from musical foreground (p.189). Lanza readily interchanges the term space music with new age music, in one sentence it reads: Nevertheless, new-age/space/adult alternative music proponents keep reviving the debate over background music's aesthetic value (p. 187). The historical outline given in Lanza is not reflected in the Space music article. Can I ask Milo, do you have a reference for a published source that presents the historical outline as described in this article? Semitransgenic (talk) 20:59, 7 November 2008 (UTC)

Taking it from the top:

Space music, also spelled spacemusic, is an umbrella term 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 music from the western classical, world, Celtic, traditional, experimental and other idioms also falls within the definition of space music.

the definition provided here stems from one internet source, which is a commercial radio show - in fact it's possible that there may be a WP:UNDUE issue with the amount of emphasis placed upon this one source - however I note that none of the citations explicitly supports either point 1)Space music can be found within a wide range of genres or point 2)Some music from the western classical, world, Celtic, traditional, experimental and other idioms also falls within the definition of space music. Are there sources that demonstrably show both of these statements to be true? If not this is one of the first examples of synthesis that needs to be highlighted. Semitransgenic (talk) 21:59, 7 November 2008 (UTC)

As with all other musical genres, idioms and styles, "space music" can only viably be defined by its inherent musical characteristics.

Instead, this article currently tries hard to suggest that the term is some sort of catch-all phrase that can be applied willy-nilly to any music that happens to be broadcast by a single US-based, nationally-syndicated specialist music radio show - no matter if it's classical, Celtic, Flamenco, mediaeval, electronic, Indian, a film soundtrack, ECM-style cool jazz or anything else. This is a specious, unsustainable piece of original research, and it has to go.

In reality, "space music" is part of a continuum of music which is broadly atmospheric in context (ie, which most people familiar with it usually choose to term "ambient" (however accurately/inaccurately) in contemporary parlance). It is certainly not the "property" of any one person, group or commercial entity.

If 100 people refer to something as "X", and 1 person refers to the same something as "Y", it is totally unacceptable to promote or imply that "Y" is a preferred or common terminology - yet that is exactly what the current version of this article does.

Instead it should properly reflect the fact that Steven Hill, John Diliberto, Chuck van Zyl, Forest, myself and my 2 colleagues and other broadcasters of note have all been programming pretty much the same mix of artists, albums and musical genres and styles, in a broadly similar manner, for a very long time - and that something known as "space music" - however it is defined - which people generally recognise as a consequence of its low-key, impressionistic, non-rhythmic, atmospheric, "space-inducing" sonic characteristics - is one of the recurrent themes common to all of our on-air activities. --Gene_poole (talk) 23:53, 7 November 2008 (UTC)

There is definitely a muddle, and it relates to confusing three specific areas: kosmische musik (notice the English translation, 'cosmic music', redirects to space music, Ambient music, and New age music. I'm not sure it's wise to ignore the literature pertaining to the evolution of each of these genres because one radio producer states that "Any music with a generally slow pace and space-creating sound image can be called spacemusic", this is actually a commercial entity's branding drive, that is what I find most contentious about all of this, never mind the blatant misrepresentations that exist in the article. Semitransgenic (talk) 00:39, 8 November 2008 (UTC)

Bingo! "Any music with a generally slow pace and space-creating sound image can be called spacemusic". Actually, most people today would apply the generic term "ambient" to such music, because that has simply become the established colloquial parlance for most low-key, impressionistic, atmospheric music. HOS is unique in referring to that same sort of music as "space music". There's nothing wrong with that, of course - but - as you point out so incisively in your comment above - let's not lend that simple branding choice undue significance by pretending its something more than that. --Gene_poole (talk) 01:21, 8 November 2008 (UTC)

Semitransgenic, you have presented your opening remarks in the coming long debate as though scholarship is important to you. Scholars are expected to research their positions when reasonably possible, to avoid wasting the time of others. All three editors currently posting here, including you, have in the past expressed their lack of available time. Please read all of the archives so we won't waste days of time re-re-re-debating merely the background to perennial issues that already have many well-established reasons, positions, exceptions, and agendas to consider. You will find answers, or at least positions, on some of the questions you've already asked.
On such a niche small, yet multidimensionally complex subject, getting up to speed from the archives could also help preserve your desired reputation as a scholar, by avoiding more lightly informed premature closures that you have already expressed above. Milo 04:24, 8 November 2008 (UTC)

Milo, if you are proposing to commence making a meaningful contribution here, please ensure your comments address the specific points under discussion - simply, concisely, and unencumbered by such irrelevant personal speculations as the imagined desires and motivations of other editors. --Gene_poole (talk) 07:39, 8 November 2008 (UTC)

Ok...

←Semitransgenic, all three editors currently posting here have previously expressed their lack of available time. Please read all of the archives. This will save our time for possibly making new progress on some perennial issues that are yet again raised for discussion. Milo 08:42, 8 November 2008 (UTC)

Milo, if you have any desire to to see your opinions given anything even approaching serious consideration as a function of this discussion, it would be advisable to follow my previous request, and actually articulate them in the form of written responses which directly explain your opinions, and the specific justifications and WP policies you believe support those opinions, with respect to the numerous observations and comments dealing with the problematic content within, and tone of this article - which have been very plainly and succinctly articulated above by myself and Semitransgenic.

I venture to suggest that failing to become actively engaged in this discussion when strongly encouraged to do so - in almost the same breath as breezily suggesting that Semitransgenic simply go and "read the entire archive" instead, because (to paraphrase) you've 'already been through all of this before' - may ultimately cause others to begin asking troubling questions concerning the strength of your committment to the achievement of a true policy-compliant consensus on this subject. --Gene_poole (talk) 09:50, 8 November 2008 (UTC)

Your suggestion is noted. Milo 17:14, 8 November 2008 (UTC)

This looks like a well-done article to me. There's always room for improvement but it gives an overall accurate description of the topic with lots of good references. The definition is not just from one radio show, it's supported by a variety of sources and authors. Compared to other music-style articles, this one has much better footnotes than most. --The Neutral Zone (talk) 23:32, 8 November 2008 (UTC)

Like all WP articles, this one must comply with our content policies. That means no WP:OR, no WP:SYN and no WP:POV - all of which are currently present here in spades. The fundamentals of a decent article are in place - but it still has a long way to before it reaches that stage. --Gene_poole (talk) 01:17, 9 November 2008 (UTC)

Why did you change my indenting? I've moved it back where it was, because I indented that way to reply to the main comment way up at the top and the comment in the middle of the section, about the definition. Neither of those are indented so I added one indentation level. I was not replying to the exchange between you and the other editor just above. About the various OR, SYN, POV policies you listed, the problems those policies describe don't look like they're happening here IMHO. --The Neutral Zone (talk) 04:35, 9 November 2008 (UTC)

I'm afraid they are, as numerous other editors over a long period of time have also concluded. We are now about to correct this. --Gene_poole (talk) 04:43, 9 November 2008 (UTC)

i would ask that editors address the content, rather than throwing accusations at other editors. Milo I would request that you please consider WP:CAI.

Can someone cite WP:RS/WP:V secondary sources that state specifically what is written in the lede regarding a definition of 'space music'? if not I am going to remove it and replace it with Lanza's view on the matter. Semitransgenic (talk) 13:58, 10 November 2008 (UTC)

Picture: citation

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

According to whom? are there a sources for this? or is it from the HOS website? Statements like this are deeply subjective so we need more than just one persons view on the matter, if WP:POV is to be avoided. Semitransgenic (talk) 16:07, 10 November 2008 (UTC)

Further comments

Lede: first paragraph

Space music, also spelled spacemusic, is an umbrella term 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 music from the western classical, world, Celtic, traditional, experimental and other idioms also falls within the definition of space music.

the definition provided here stems from one internet source, which is a commercial radio show - in fact it's possible that there may be a WP:UNDUE issue with the amount of emphasis placed upon this one source - however I note that none of the citations explicitly supports either point 1)Space music can be found within a wide range of genres or point 2)Some music from the western classical, world, Celtic, traditional, experimental and other idioms also falls within the definition of space music. Are there WP:RS/WP:V secondary sources that demonstrably show both of these statements to be true? If not this is one of the first examples of WP:SYN that needs to be highlighted. Semitransgenic (talk) 21:59, 7 November 2008 (UTC)

Further comments

Lede: Second paragraph

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.

Various problems with this whole paragraph, again almost exclusively from HOS, the secondary sources (Lanza & Lancaster) are used in a synthetic manner. No mention of psychoacoustics in either citation. And again there is confusion, some of the cites are not discussing 'space music' as set forth in the HOS definition. Even the HOS item is confused, one is discussing what it calls 'Contemplative music' and it clearly states The program has defined its own niche — a mix of ambient, electronic, world, new age, classical and experimental music. Artists and record companies around the world recognize Hearts of Space as the original, most widely heard, premiere showcase for "contemplative music, broadly defined." It really needs to be appreciated here that a commercial entity, that uses it's website to market a product, is the sole source for much of the information here. On top of the exisiting WP:OR & WP:SYN problem there is clearly a WP:NPOV issue and possible WP:SOAP problem with the lede content. As I expressed above, wires are being crossed here with regard to a number of clearly defined genres of music all of which are dealt with elsewhere on Wiki. We need WP:RS/WP:V secondary sources here and unless they are provided much of this text will have to be excised. Semitransgenic (talk) 14:24, 10 November 2008 (UTC)

Further comments

Lede: Third and fourth paragraph

Space music is used by 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.

More problems, again heavily reliant on HOS for much of this. This reads more like a description of 'New Age' music. In the cited Ambient Visions item, which is again a reiteration of content found on the HOS website, it states clearly: "Today our mission statement is down to four words: contemplative music, broadly defined. Hill states "I was originally drawn to electronic space music and other high-tech explorations, but underneath the patch cords I discovered the centuries-old tradition of contemplative sound." and about HOS "bringing together space-creating and contemplative music from many cultures and traditions; plus hundreds of local niche music shows covering everything from pipe organ to polka." In the cited article we also see mention of Yanni and Enya, so again it's somewhat confused. As before it's clear we need WP:RS/WP:V secondary sources that state specifically what is written in the lede regarding a definition of 'space music'. Semitransgenic (talk) 14:40, 10 November 2008 (UTC)

Further comments

Definitions: Paragraph one

The term "space music" has evolved and changed since it was first used over a half century 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.

The cited sources for this paragraph and the assertions within it are HOS, despite this it doesn't appear to reflect the conclusion reached in the second sentence. Again WP:POV WP:UNDUE WP:SYN issues. Can someone provide WP:RS/WP:V secondary sources that can be used to establish the factuality of this? Semitransgenic (talk) 15:48, 10 November 2008 (UTC)

Further comments

Definitions: Paragraph two

Six referenced commentators do not use the term interchangeably with ambient music, one is ambiguous, and one does so. Nine referenced commentators use the term space music as a subgenre of new age music (separate from ambient music) and do not use it interchangeably, one is ambiguous, four use space music interchangeably with new age music, and four consider space music and new age music completely unrelated. Two referenced commentators refer to space music as a sub-genre of electronic rock.

Who conducted this survey? it's not clear. What is the source for this data? If there is none then it appears WP:OR is being used to buffet what might be a POV push. Semitransgenic (talk) 16:01, 10 November 2008 (UTC)

Further comments

Definitions: Paragraph three

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, he referred to space music as a sub-category of New Age.

More HOS WP:POV. As with all of the material that is cited from HOS it is WP:SPS. Point previously raised regarding HOS apply here also. Semitransgenic (talk) 20:02, 10 November 2008 (UTC)

Further comments

Definitions: Paragraph Four

Hill's partner and co-founder of "Music from the Hearts of Space" Anna Turner (1944-1996) 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."

This is usable, it appears to be a verifiable secondary source. I would like to check this over to see exactly what she is discussing because it seems to relate specifically to a type of New Age music; which fits with Lanza's view of space-music (as defined here) as a strain of New Age music with its origins in easy listening. Semitransgenic (talk) 20:10, 10 November 2008 (UTC)

Further comments

1. ^ "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?
2. ^ "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
3. ^ "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?
4. ^ Lanza, Joseph (2004). Elevator Music: A Surreal History of Muzak, Easy-listening, and Other Moodsong. University of Michigan Press. p. 184. ISBN 0472089420. 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...
5. ^ Cite error: The named reference ref35 was invoked but never defined (see the help page).
6. ^ Herberlein, L.A. (2002). The Rough Guide to Internet Radio. Rough Guides. p. 95. ISBN 1858289610.
7. ^ "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
8. ^ "Significant Works of the Berlin-School". Star's End Radio. 2001. Among the core albums of this genre were Rubycon and Phaedra by Tangerine Dream, Picture Music and Mirage by Klaus Schulze and Inventions for Electric Guitar and New Age of Earth by Ash Ra Tempel. Released in the 1970s, all were considered to be ahead of their time. ...Yet, it was the more aesthetic based elements of the day that molded Spacemusic into a musical form. Music from Karlheinz Stockhausen and his groundbreaking electronic work Hymnen as tempered by the psychedelic improvisations of rock groups like the Grateful Dead and Pink Floyd as well as epic sized classical compositions by the venerable Richard Wagner informed this movement with a sense of scale. The result of these cultural and technological influences is a timeless and unique music characterized by a mysterious mood and evocative atmosphere.
9. ^ "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
10. ^ Cite error: The named reference ref36b was invoked but never defined (see the help page).
11. ^ Hurwitz, David (2005). Exploring Haydn: A Listener's Guide to Music's Boldest Innovator. Amadeus Press Unlocking the Masters Series. Hal Leonard. pp. 78–81. ISBN 1574671162.
12. ^ Cite error: The named reference coyote was invoked but never defined (see the help page).
13. "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, Echoes Radio on-line music glossary
14. "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
15. "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
16. Lanza, Joseph (2004). Elevator Music: A Surreal History of Muzak, Easy-listening, and Other Moodsong. University of Michigan Press. pp. p 185. ISBN 0472089420. 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.' {{cite book}}: |pages= has extra text (help)
17. "definition of "Spacey" in Compact Oxford Dictionary". Oxford Dictionaries. Retrieved 2007-10-07.
18. Lanza, Joseph (2004). Elevator Music: A Surreal History of Muzak, Easy-listening, and Other Moodsong. University of Michigan Press. p. 184. ISBN 0472089420. 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.
19. Lancaster, Kurt (1999). Warlocks and Warpdrive: Contemporary Fantasy Entertainments With Interactive and Virtual Environments. McFarland & Company. pp. p29. ISBN 0786406348. Space music presents a virtual fantasy of traveling in outer space. {{cite book}}: |pages= has extra text (help); Unknown parameter |coauthor= ignored (|author= suggested) (help)
20. "...Spacemusic ... conjures up either outer "space" or "inner space" " - Lloyd Barde, founder of Backroads Music Notes on Ambient Music, Hyperreal Music Archive
21. ^ "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
22. "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?
23. "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
24. "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, Powered By Love: Niche Music in the New Millennium, feature article in Ambient Visions Magazine, 2002
25. "I acknowledge both the distaste for categories among many listeners as well as the inherent problems of categorizing music. Categories that are broad enough to include an entire era or dimension of musical style or meaning are often of little descriptive value; on the other hand, those which are too specific give no insight into the overall musical direction of which the particular piece is an example. The situation is further confused by the fact that categories may be organized by historical epochs (Baroque), by musical form (symphonic), by the means of production (electronic), etc." Stephen Hill, co-founder, Hearts of Space, essay titled New Age Music Made Simple
26. Cite error: The named reference ref19 was invoked but never defined (see the help page).
27. Cite error: The named reference ref21 was invoked but never defined (see the help page).
28. Cite error: The named reference ref25 was invoked but never defined (see the help page).
29. Cite error: The named reference ref28 was invoked but never defined (see the help page).
30. "This sub-genre of electronic rock doesn't see that much action, but fans of space music usually can't get enough of it." Definitions of ambient music
31. Lancaster, Kurt (1999). Warlocks and Warpdrive: Contemporary Fantasy Entertainments With Interactive and Virtual Environments. McFarland & Company. p. 26. ISBN 0786406348. the genre known artistically as space music and commercially labeled New Age. These kinds of musicians design aural landscapes. ...
32. Cite error: The named reference krautrock was invoked but never defined (see the help page).
33. Lanza, Joseph (2004). Elevator Music: A Surreal History of Muzak, Easy-listening, and Other Moodsong. University of Michigan Press. p. 184. ISBN 0472089420. an elusive category many prefer to call "new age" or "space music"
34. Cite error: The named reference balfe280 was invoked but never defined (see the help page).
35. "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." Space Music, by Anna Turner, co-founder of Music from the Hearts of Space, page 134, The New Age Music Guide, P.J.Birosik, 1989 Macmillon Publishing Company, New York

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