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Space music appears in many film soundtracks and is commonly played in planetariums. [21] According to Hill space music is an eclectic music produced almost exclusively by independent labels and it occupies a small niche in the marketplace, supported and enjoyed by a relatively small audience of loyal enthusiastic listeners. [22]
In 1777, Joseph Haydn's opera "Il mondo della luna"("The world on the moon") premiered. 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 ...
Spatial music is composed music that intentionally exploits sound localization. Though present in Western music from biblical times in the form of the antiphon , as a component specific to new musical techniques the concept of spatial music ( Raummusik , usually translated as " space music ") was introduced as early as 1928 in Germany.
Space opera has been defined as "a television or radio drama or motion picture that is a science-fiction adventure story". [9] Some critics distinguish between space opera and planetary romance. [10] Both feature adventures in exotic settings, but space opera emphasizes space travel, while planetary romances focus on alien worlds.
Musica universalis—which had existed as a metaphysical concept since the time of the Greeks—was often taught in quadrivium, [8] and this intriguing connection between music and astronomy stimulated the imagination of Johannes Kepler as he devoted much of his time after publishing the Mysterium Cosmographicum (Mystery of the Cosmos), looking over tables and trying to fit the data to what he ...
The subject of music within the quadrivium was originally the classical subject of harmonics, in particular the study of the proportions between the musical intervals created by the division of a monochord. A relationship to music as actually practised was not part of this study, but the framework of classical harmonics would substantially ...
The first person to approach the issue of literary space from the semiotic point of view was Juri Lotman. [2] According to Lotman, artistic space is only a model of real space, not its copy. He argued that the information provided by the text about space is incomplete and, consequently, space also is not complete.
The sci-film 2BR02B: To Be or Naught to Be is an example of cross-over diegetic music in film, with Schubert's Ave Maria playing over separate shot sequences as non-diegetic music, but then later showing it to come from a gramophone in a hospital waiting room. A similar cross-over occurs in the closing scene of the HBO docudrama "Conspiracy ...