From the ancient resonances of drums, bells, and flutes, to the exotic tones of gongs and gamelans, Music from the Hearts of Space represents the digital sounds of the new ambient frontier. As it moves into its third decade, the program continues to chronicle the best of the contemplative sound experience, with spacemusic from near and far out.
Hearts of Space grew out of producer Stephen Hill's fascination with space-creating, contemplative music. Beginning in the early 1970s, Hill hosted a weekly late-night radio program in the San Francisco Bay area. What began purely as a labor of love eventually became the most popular contemporary music program on public radio. Over the intervening quarter century, Hearts of Space evolved into a multifaceted production and broadcast company encompassing radio, record production, and now internet streaming.
In January 1983 after ten years evolution as a local program, Hearts of Space began national syndication to 35 non-commercial public radio stations via the NPR satellite system. Hosted by Hill and original co-producer Anna Turner, within three years the program signed its 200th station and became the most successful new music program in public radio history, as well as the most widely syndicated program of instrumental "spacemusic", a true tastemaker in the genre.
Quality crafting is the keystone of the HOS experience. Each one hour show is an uninterrupted musical journey, designed to create an relaxed but concentrated ambience for moving sound experiences. 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.
Our live stream webcast is authorized by our agreement to abide by the terms of the license issued by the Recording Industry Association of America. Among the limitations set out in the federal law that created the compulsory license to distribute sound recordings over the internet, we agreed that the webcast would not be distributed on a subscription basis; that it cannot be interactive or "on-demand'; and that we not publish or distribute a program schedule or list of the titles of the specific sound recordings that will be transmitted in advance.