His current book project, under contract with Oxford University Press, explores the confluence of minimalist aesthetics, countercultural praxis, and lifestyle marketing in the formation of the ambient genre of recorded music during the late 20 th century. His writing on the aesthetics of ambient music also appears in Twentieth-Century Music.When synthesist Meg Bowles creates her ambient musical soundscapes, she does it as carefully as any classical composer.
in Music (Critical & Comparative Studies) from the University of Virginia in 2015. Victor Szabo is assistant professor of music at Hampden-Sydney College in Virginia. American new age countercultures in favor of its European and avant-garde genealogies. Hill and Turner’s “spacemusic,” I ultimately argue, presents a challenge to ambient music historiography, which typically disavows the genre’s roots in U.S. Hearts of Space modeled the commodification of these ideas in the new age and ambient music markets, yet eluded (and gives the lie to) the split of atmospheric music into these two seemingly separate genre categories.
Hearts’s transcultural ethos developed alongside the new age community’s whole-earth holism and appetite for esoteric wisdom, while the show’s atmospheric aesthetic emerged from a psychedelic conception of music as experiential medium. In the show’s first decade, Hill conceived spacemusic as a “psychotechnology” of spiritual introspection, transpersonal communion, and connection to nature. These materials illuminate aesthetic and ideological continuities linking the grassroots new age technoculture of the 1970s and ’80s California Bay Area to the emergent ambient and new age record markets of the ’80s and ’90s. This paper presents gatherings from tapes, notebooks, and interviews from Hearts’s archives in San Rafael, California. Still airing terrestrially and streaming online, Hearts is presently regarded as the longest-running ambient music radio program to date.
through National Public Radio (NPR) in 1983, and reached over 200 radio stations at its peak in the late ‘80s. Hearts received national syndication in the U.S. Soon co-hosted by Anna Turner, Hearts offered listeners a steady stream of what its producers called “spacemusic”: a freeform flow of rock, electronic, folk, jazz, classical, and sacred musics from around the world. In 1973, freelance sound engineer Stephen Hill started hosting a late-night radio program on KPFA-FM Berkeley titled Music from the Hearts of Space.
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