Online distribution, digital distribution, or electronic software distribution (ESD) is the practice of delivering content without the use of physical media, typically by downloading via the internet directly to a consumer's device. Online distribution bypasses conventional physical distribution media, such as paper or DVDs. The term online distribution is typically applied to freestanding products; downloadable add-ons for other products are more commonly known as downloadable content.

Content distributed online may be streamed or downloaded. Streaming involves downloading and using content "on-demand" as it is needed. Meanwhile, fully downloading the content to a hard drive or other form of storage media allows for quick access in the future.

Basis

The major attraction for online distribution is its direct nature. To make a commercially successful work, artists usually must enter their industry’s publishing chain. Publishers help artists advertise, fund and distribute their work to retail outlets. In some industries, particularly videogames, artists find themselves bound to publishers, and in many cases unable to make the content they want; the publisher might not think it will profit well. This can quickly lead to the standardization of the content and to the stifling of new, considerably risky ideas.

By opting for online distribution, an artist can get their work into the public sphere of interest easily with potentially minimum business overheads. This often leads to cheaper goods for the consumer and increased profits for the artists, as well as increased artistic freedom.

Online distribution also opens the door to new business models (e.g., the Open Music Model). For instance, an artist could release one track from an album or one chapter from a book at a time instead of waiting for them all to be completed. This either gives them a cash boost to help continue or warns that their work is not financially viable before they have sunk excessive money and time into it. Videogames have increased flexibility in this area, demonstrated by micropayment models such as the one in Gunbound. A clear result of these new models is their accessibility to smaller artists or artist teams who do not have the time, funds, or expertise to make a new product in one go.

An example of this can be found in the music industry. Indie artists are for the first time able to access the same distribution channels as major record labels, with none of the restrictive practices or inflated manufacturing costs; there is a growing collection of 'internet labels' that offer distribution to unsigned or independent artists directly to online music stores, and in some cases marketing and promotion services. Further, many bands are able to bypass this completely, and offer their music for sale via their own independently-controlled websites; this gives even further advantage to the artist, as it completely cuts out a distributor—and their cut of the profits.

Impact on traditional retail

The rise of online distribution of music in particular has been blamed for a number of traditional retail venues closing, such as the iconic Canadian music chain Sam the Record Man in 2007-08.

Notable online distributors

7digital

CD Baby

Direct2Drive

Djshop

DotEmu

GamersGate

Good Old Games

Impulse

iTunes Store

Mac App Store

Netflix

Nimbit

OnLive

Nokia Ovi Store

PlayStation Store

Steam

Xbox Live Marketplace

See also

Electronic commerce

Content delivery network

Video on demand

Gaming on demand

eBooks

List of digital distribution platforms for mobile devices

List of Internet television providers

Film distribution

Film distributor

References

Category:Video game development Category:Digital rights management Category:Electronic commerce

ca:Distribució digital de:Electronic Software Distribution es:Distribución digital ko:전자 소프트웨어 배급 it:Distribuzione digitale ja:ダウンロード販売 pl:Electronic Software Distribution pt:Distribuição digital ru:Цифровая дистрибуция sr:Дигитално преузимање tr:Sayısal dağıtım uk:Цифрова дистрибуція

:''Soft power may also refer to a soft power switch, as opposed to a hard power switch on a computer.''

Soft power is the ability to obtain what one wants through co-option and attraction. It can be contrasted with 'hard power', that is the use of coercion and payment. Soft power can be wielded not just by states, but by all actors in international politics, such as NGOs or international institutions. The idea of attraction as a form of power dates back to ancient Chinese philosophers such as Laozi in the 7th century BC. "Water is fluid, soft, and yielding. But water will wear away rock, which is rigid and cannot yield. As a rule, whatever is fluid, soft, and yielding will overcome whatever is rigid and hard. This is another paradox: what is soft is strong." Lao Tzu

Soft power is comparable to the second dimension (agenda setting) and the third dimensions (or the radical dimension) of power as expounded by Steven Lukes in «Power: A Radical View».

Origin

The phrase was coined by Joseph Nye of Harvard University in a 1990 book, ''Bound to Lead: The Changing Nature of American Power''. He further developed the concept in his 2004 book, ''Soft Power: The Means to Success in World Politics''. The term is now widely used in international affairs by analysts and statesmen. For example, in 2007, Chinese President Hu Jintao told the 17th Communist Party Congress that China needed to increase its soft power, and the US Secretary of Defense Robert Gates spoke of the need to enhance American soft power by "a dramatic increase in spending on the civilian instruments of national security -- diplomacy, strategic communications, foreign assistance, civic action and economic reconstruction and development." In 2010 Annette Lu, former vice-president of Taiwan, visited South Korea and advocated Taiwan's use of soft power as a model for the resolution of international conflicts.

What makes soft power soft?

The primary currencies of soft power are an actor's values, culture, policies and institutions—and the extent to which these "primary currencies", as Nye calls them, are able to attract or repel other actors to "want what you want." In 2008, Nye applied the concepts of hard and soft power to individual leadership in "The Powers to Lead".

In any discussion of power, it is important to distinguish behavior (affecting others to obtain the preferred outcomes) from the resources that may (or may not) produce those outcomes. Sometimes people or countries with more power resources are not able to get the outcomes they wish. Power is a relationship between an agent and a subject of power, and that relationship will vary with different situations. Meaningful statements about power must always specify the context in which the resources may (or may not) be converted into behavior.

Soft power is not merely non-traditional forces such as cultural and commercial goods, as this confuses the resources that may produce behavior with the behavior itself – what Steven Lukes calls the “vehicle fallacy.” Neither is it the case that all non-military actions are forms of soft power, as certain non-military actions, such as economic sanctions, are clearly intended to coerce and are thus a form of hard power.

That said, military force can sometimes contribute to soft power. Dictators like Adolf Hitler and Joseph Stalin cultivated myths of invincibility and inevitability to structure expectations and attract others to join them. A well run military can be a source of attraction, and military to military cooperation and training programs, for example, can establish transnational networks that enhance a country’s soft power. Napoleon I's image as a Great General and military hero arguably attracted much of the foreign aristocracy to him. The impressive job of the American military in providing humanitarian relief after the Indian Ocean tsunami and the South Asian earthquake in 2005 helped restore the attractiveness of the United States. Of course, misuse of military resources can also undercut soft power. The Soviet Union had a great deal of soft power in the years after World War II, but they destroyed it by the way they used their hard power against Hungary and Czechoslovakia, just as American military actions in the Middle East undercut their Soft Power.

Limitations to soft power

Soft power has been criticized as being ineffective by authors such as Niall Ferguson in the preface to ''Colossus''. Neorealist and other rationalist and neorationalist authors (with the exception of Stephen Walt) would generally disregard soft power since they assume for theoretical purposes that actors in international relations respond to only two types of incentives - economic incentives and force.

As a concept, it is often hard to distinguish between the effects of soft power and other factors. For example, Janice Bially Mattern asserts that George W. Bush's use of the phrase "you are either with us or against us" was an exercise in soft power, since no explicit threat was included. However, rationalist authors would merely see this as an 'implied threat', and that direct economic or military sanctions would likely follow from being 'against us'.

Measuring soft power

Soft power, then, represents the third behavioral way of getting the outcomes you want. Soft power is contrasted with hard power, which has historically been the predominant realist measure of national power, through quantitative metrics such as population size, concrete military assets, or a nation's gross domestic product. But having such resources does not always produce the desired outcomes as the United States discovered in the Vietnam War. The extent of attraction can be measured by public opinion polls, by elite interviews, and case studies.

The first attempt to measure soft power through a composite index was created and published by the Institute for Government and Monocle (2007 magazine). The IfG-Monocle Soft Power Index combined a range of statistical metrics and subjective panel scores to measure the soft power resources of 26 countries. The metrics were organised according to a framework of five sub-indices including culture, diplomacy, education, business/innovation, and government. The index is said to measure the soft power resources of countries, and does not translate directly into ability influence.

Nye argues that soft power is more than influence, since influence can also rest on the hard power of threats or payments. And soft power is more than just persuasion or the ability to move people by argument, though that is an important part of it. It is also the ability to attract, and attraction often leads to acquiescence.

In international affairs, soft power is generated only in part by what the government does through its policies and public diplomacy. The generation of soft power is also affected in positive (and negative) ways by a host of non-state actors within and outside the country. Those actors affect both the general public and governing elites in other countries, and create an enabling or disabling environment for government policies. In some cases, soft power will enhance the probability of other elites adopting policies that allow one to achieve preferred outcomes. In other cases, where being seen as friendly to another country is seen as a local political kiss of death, the decline or absence of soft power will prevent a government from obtaining particular goals. But even in such instances, the interactions of civil societies and non-state actors may help to further general milieu goals such as democracy, liberty, and development. Soft power is not the possession of any one country or actor.

The success of soft power heavily depends on the actor’s reputation within the international community, as well as the flow of information between actors. Thus, soft power is often associated with the rise of globalization and neoliberal international relations theory. Popular culture and media is regularly identified as a source of soft power, as is the spread of a national language, or a particular set of normative structures; a nation with a large amount of soft power and the good will that engenders it inspire others to acculturate, avoiding the need for expensive hard power expenditures.

Because soft power has appeared as an alternative to raw power politics, it is often embraced by ethically-minded scholars and policymakers. But soft power is a descriptive rather than a normative concept. Like any form of power, it can be wielded for good or bad purposes. While soft power can be used with bad intentions and wreak horrible consequences, it does differ in terms of means. It is on this dimension that one might construct a normative preference for greater use of soft power.

Academic debates around soft power

Academics have engaged in several debates around soft power. These have included:

Its usefulness (Giulio Gallarotti, Niall Ferguson, Josef Joffe, Robert Kagan, Ken Waltz, Mearsheimer vs Nye, Katzenstein, Janice Bially Mattern, Jacques Hymans, Alexander Vuving, Jan Mellisen)

How soft and hard power interact (Giulio Gallarotti, Joseph Nye)

Whether soft power can be coercive/manipulative, (Janice BIally Mattern, Katzenstein, Duvall & Barnet vs Nye, Vuving)

How the relationship between structure and agency work (Hymans vs Nye)

Whether Soft Balancing is occurring (Wohlforth & Brooks vs Walt et al)

Soft power - Normative power Europe (Ian Manners, A Ciambra, Thomas Diez, A Hyde Pryce, Richard Whitman)

References

External links

Barack Obama & the use of soft power

Global Power Barometer

Is China’s new communications worldview coming of age? David Bandurski

The Benefits of Soft Power

Simulation and Soft Power

Soft Power definition

Soft Power, Smart Power and Intelligent Power A lecture in honor of Joseph Nye

Further reading

Giulio Gallarotti, Cosmopolitan Power in International Relations: A Synthesis of Realism, Neoliberalism, and Constructivism, NY: Cambridge University Press, 2010, how hard and soft power can be combined to optimize national power

Giulio Gallarotti, The Power Curse: Influence and Illusion in World Politics, Boulder, CO.: Lynne Rienner Press, 2010, an analysis of how the over reliance on hard power can diminish the influence of nations

Giulio Gallarotti. "Soft Power: What it is, Why it’s Important, and the Conditions Under Which it Can Be Effectively Used" Journal of Political Power (2011),

http://works.bepress.com/giulio_gallarotti/3/

Soft Power and US Foreign Policy: Theoretical, Historical and Contemporary Perspectives, ed Inderjeet Parmar and Michael Cox, Routledge, 2010

Steven Lukes, "Power and the battle for hearts and minds: on the bluntness of soft power," in Felix Berenskoetter and M.J. Williams, eds. Power in World Politics, Routledge, 2007

Janice Bially Mattern, "Why Soft Power Is Not So Soft," in Berenskoetter and Williams

J.S. Nye, "Notes for a soft power research agenda," in Berenskoetter and Williams

Young Nam Cho and Jong Ho Jeong, "China's Soft Power," Asia Survey,48,3,pp 453–72

Yashushi Watanabe and David McConnell, eds, Soft Power Superpowers: Cultural and National Assets of Japan and the United States, London, M E Sharpe, 2008

Ingrid d'Hooghe, "Into High Gear: China’s Public Diplomacy’, The Hague Journal of Diplomacy, No. 3 (2008), pp. 37–61.

Ingrid d'Hooghe, "The Rise of China’s Public Diplomacy", Clingendael Diplomacy Paper No. 12, The Hague, Clingendael Institute, July 2007, ISBN 978-90-5031-1175,36 pp.

"Playing soft or hard cop," The Economist, January 19, 2006

Y. Fan, (2008) "Soft power: the power of attraction or confusion”, Place Branding and Public Diplomacy, 4:2, available at http://bura.brunel.ac.uk/handle/2438/1594

Bruce Jentleson, "Principles: The Coming of a Democratic Century?" from ''American Foreign Policy: The Dynamics of Choice in the 21st Century''

Jan Melissen, "Wielding Soft Power," Clingendael Diplomacy Papers, No 2, Clingendael, Netherlands, 2005

Chicago Council on Global Affairs, "Soft Power in East Asia" June 2008

Joseph Nye, The Powers to Lead, NY Oxford University Press, 2008

Nye, Joseph, Soft Power: The Means to Success in World Politics

Joshua Kurlantzick, ''Charm Offensive: How China's Soft Power is Transforming the World'' (Yale University Press, 2007). Analysis of China's use of soft power to gain influence in the world's political arena.

John McCormick ''The European Superpower'' (Palgrave Macmillan, 2006). Argues that the European Union has used soft power effectively to emerge as an alternative and as a competitor to the heavy reliance of the US on hard power.

Ian Manners, Normative Power Europe: A Contradiction in Terms?, http://www.princeton.edu/~amoravcs/library/mannersnormativepower.pdf

Matthew Fraser, ''Weapons of Mass Distraction: Soft Power and American Empire'' (St. Martin's Press, 2005). Analysis is focused on the pop culture aspect of soft power, such as movies, television, pop music, Disneyland, and American fast-food brands including Coca-Cola and McDonald's.

Middle East Policy Journal: Talking With a Region

Salvador Santino Regilme, The Chimera of Europe's Normative Power in East Asia: A Constructivist Analysis

Category:International relations Category:Diplomacy Category:Globalization

ar:القوة الناعمة de:Soft Power es:Poder blando fa:قدرت نرم fr:Soft power it:Soft power ja:ソフト・パワー pt:Soft power tr:Yumuşak güç uk:М'яка сила vi:Quyền lực mềm zh:软实力

name	Klaus Schulze
background	non_vocal_instrumentalist
born	August 04, 1947
origin	Berlin, Germany
genre	Electronic musicNew Age musicSpace musicTrance musicKrautrock/Kosmische MusikBerlin School
occupation	Musician, Producer
years active	1969–present
label	OhrBrain/PolyGram RecordsVirgin RecordsMetronomeManikin RecordsIsland RecordsICInteamZYX RecordsWEARainhorseSynthetic SymphonyFAX +49-69/450464
associated acts	Tangerine DreamAsh Ra TempelCosmic Jokers
website	Official Site
notable instruments	}}

Klaus Schulze (born 4 August 1947) is a German electronic music composer and musician. He also used the alias Richard Wahnfried. He was briefly a member of the electronic bands Tangerine Dream and Ash Ra Tempel before launching a solo career consisting of more than 60 albums lasting five decades.

History

1970s

In 1969, Klaus Schulze was the drummer of one of the early incarnations of Tangerine Dream for their debut album ''Electronic Meditation''. Before 1969 he was a drummer in a band called Psy Free. He met Edgar Froese from Tangerine Dream in the ZODIAC CLUB in Berlin in that time West-Germany. In 1970 he left this group to form Ash Ra Tempel with Manuel Göttsching and Harmut Enke. In 1971, he chose again to leave a newly-formed group after only one album, this time to mount a solo career. In 1972, Schulze released his debut album ''Irrlicht'' with organ and a recording of an orchestra filtered almost beyond recognition. Despite the lack of synthesizers, this proto-ambient work is regarded as a milestone in electronic music. The follow-up, ''Cyborg'', was similar but added the EMS Synthi A synthesizer.

Since this point, Schulze's career has been most prolific, and he can now claim more than 40 original albums to his name since ''Irrlicht''. Highlights of these include 1975's ''Timewind'', 1976's ''Moondawn'' (his first album to feature the Moog modular synthesizer), 1979's ''Dune'', and 1995's double-album ''In Blue'' (which featured one long track called Return To The Tempel with electric guitar contributions from his friend Manuel Göttsching of Ash Ra Tempel). In 1976, he was drafted by Japanese percussionist and composer Stomu Yamashta to join his short-lived "supergroup" Go, also featuring Steve Winwood, Michael Shrieve and Al Di Meola. They released two studio albums (''Go'' in 1976 and ''Go Too'' in 1977) and one live album ("Live from Paris" recorded in 1976 and released in '77) which went on to become a cult favourite.

Throughout the 1970s he followed closely in the footsteps of Tangerine Dream, albeit with far lighter sequencer lines and a more reflective, dreamy edge, not unlike the ambient music of his contemporary Brian Eno. It is to be noted that some of his lighter albums are appreciated by New Age music fans, despite the fact that Schulze has always denied connections to this genre.

Klaus Schulze had a more organic sound than other electronic artists of the time. Often he would throw in decidedly non-electronic sounds such as acoustic guitar and a male operatic voice in ''Blackdance'', or a cello in ''Dune'' and ''Trancefer''. Schulze developed a Minimoog technique that sounds uncannily like an electric guitar, which is quite impressive in concert. Schulze often takes German events as a starting point for his compositions, a notable example being on his 1978 album ''"X"'' (the title signifying it was his tenth album), subtitled "Six Musical Biographies", a reference to such notables as Ludwig II of Bavaria, Friedrich Nietzsche, Georg Trakl and Wilhelm Friedemann Bach. His use of the pseudonym ''Richard Wahnfried'' is indicative of his interest in Richard Wagner, a clear influence on some albums like the aforementioned ''Timewind''.

1980s

In the 1980s Schulze moved from analog to digital instruments, and his work accordingly became less experimental and more accessible. Although the switch to purely digital recording and instruments is evident in the style of ''Dig It'' (1980) It was not until the release of ''Trancefer'' (1981) that the shift in style became evident. ''Trancefer'' was far more obviously reliant on sequencers than previous recordings, and the resultant effect transformed Schulze's style from gentle melodic journeys to an ever-growing crescendo of music consisting of multi-layered rhythmical passages. This is particularly evident in the ''Trancefer'''s first track "A Few Minutes After Trancefer", although the second track "Silent Running" is more reminiscent of Schulze's earlier works.

This newer style can also be found in Schulze's next release ''Audentity''. Both "Cellistica" and "Spielglocken" are composed in a similar, sequencer based, style as ''Trancefer'', but this is certainly not the case of all of ''Audentity'''s tracks, indeed "Sebastian in Traum" hints towards the Operatic style to be found in some of Schulze's much later work. The predominance of sequencing can also be found in the follow-up live album ''Dziękuję Poland Live '83'', although it should be noted that many of its tracks are re-workings of those to be found on ''Audentity''. Schulze's next studio-based album ''Angst'' (soundtrack to the namesake 1983 film) moved away from the harshness of sharp, heavily sequenced style of the 3 previous albums and, once again, had the more "organic feel" of earlier recordings.

Another highlight of this era was ''En=Trance'' with the dreamy cut "FM Delight". The album ''Miditerranean Pads'' marked the beginning of very complex percussion arrangements that continued into the next two decades.

In 1989, German band Alphaville released their album ''The Breathtaking Blue'', on which Klaus Schulze was both a contributing musician (partially) and the album's producer.

1990s

Starting with ''Beyond Recall'', the first half of the 1990s was the notorious "sample" period, when Schulze used a wide variety of pre-recorded sounds such as screeching birds and sensuous female moans in his studio albums and live performances. Sampling was such an unpopular diversion that when ''In Blue'' was released in 1995 without samples it was hailed as a return to form. The decade also saw the release of copious amounts of previously unreleased material, of varying quality, in several limited-edition boxed sets. Some live recordings were discovered on pristine but forgotten reels of tape which had been used to provide echo in concerts.

2000s

Recently Schulze began incorporating elements of jazz and classical music, working with more contemporary electronic dance music such as trance, and creating two operas, the second still awaiting release. Also, in 2005 he began re-releasing his classic solo and Wahnfried albums with bonus tracks of unreleased material recorded at roughly the same time as the original works. In the last several years, Schulze has produced albums and staged numerous live appearances with Lisa Gerrard.

2010s

With the release of his fortieth album (''Big in Japan: Live in Tokyo 2010'') in September 2010, Klaus Schulze entered his fifth decade as a solo musician. He's currently working on his next album, Shadowlands, to be released in 2011.

Richard Wahnfried

''Richard Wahnfried'', then simply ''Wahnfried'' after 1993, is the long-time and only real alias for Klaus Schulze – originally a pseudonym, later an official side project name. Seven albums were released under this name between 1979 and 1997.

The main characteristics of the Wahnfried albums (as opposed to Schulze's regular works) are:

Often being oriented towards more mainstream genres (some would say "more commercial"), such as rock, dance, techno and trance.

Always allowing for collaborative and less electronic albums, with known or unknown guest musicians performing along Schulze's synths.

The pseudonym's etymology stems from Schulze's love for Richard Wagner:

Richard, evidently from Wagner's first name. Richard is also the name of Schulze's first son.

Wahnfried ("Peace from delusion and/or madness", in German), from the name Wagner gave to his villa in Bayreuth (and where he was later buried).

In his 1975 album ''Timewind'' (four years before the first alias use), Schulze had already named a track "Wahnfried 1883" (in reference to Wagner's death and burial in his Wahnfried's garden in 1883). The other track on ''Timewind'' is called "Bayreuth Return". After 1993, the albums are simply credited to "Wahnfried", and namedrop Schulze ("featuring Klaus Schulze", "Produced by Klaus Schulze").

"Wahnfried" is the only known alias of Schulze (albeit on the 1998 ''Tribute to Klaus Schulze'' album, among 10 other artists, Schulze contributed one track barely hidden behind the "Schulzendorfer Groove Orchester" pseudonym).

Discography

Albums

Schulze's concert performances are original compositions recorded live and thus listed as albums. An intensive reissue program of Schulze CDs began in 2005, with most releases having bonus tracks, and sometimes additional discs. They are published by the label Revisited Records (a division of German company InsideOut Music 1), and distributed by SPV.

! Year	! Title	! Reissued
1972		2006
1973		2007
1974	''Blackdance''	2007
1975	''Picture Music''	2005
1975	''Timewind''	2006
1976	''Moondawn''	2005
1977	''Body Love'' (soundtrack)	2005
1977		2005
1977	''Body Love Vol. 2''	2007
1978		2005
1979		2005
1980	''...Live...''	2007
1980		2005
1981	''Trancefer''	2006
1983	''Audentity''	2005
1983		2006
1984		2005
1985	''Inter*Face''	2006
1986		2005
1988	''En=Trance''	2005
1990	''Miditerranean Pads''	2005
1990	''The Dresden Performance'' (live)
1991	''Beyond Recall''
1992	''Royal Festival Hall Vol. 1'' (live)
1992	''Royal Festival Hall Vol. 2'' (live)
1993	''The Dome Event'' (live)
1994	''Le Moulin de Daudet'' (soundtrack)	2005
1994	''Goes Classic''
1994	''Totentag''
1994	''Das Wagner Desaster Live'' (live)	2005
1995		2005
1996	''Are You Sequenced?'' (live)	2006
1997	''Dosburg Online'' (live)	2006
2001	''Live @ KlangArt'' (live)	2008
2005	''Moonlake''
2007	''Kontinuum''
2008
2008
2009	''Dziękuję Bardzo'' (live, with Lisa Gerrard)
2010	''Big in Japan: Live in Tokyo 2010'' (live)

Richard Wahnfried albums

Composed by Schulze and performed with guest artists under alias ''Richard Wahnfried'':

! Year	! Title	! Reissued
1979	''Time Actor''
1981	''Tonwelle''
1984
1986	''Miditation''
1994	''Trancelation''
1996	''Trance Appeal''	2007
1997	''Drums 'n' Balls (The Gancha Dub)''	2006

Boxed sets

Between 1993 and 2002 Klaus Schulze released several limited edition boxed sets, all composed of non-album material.

''Historic Edition'' ''Jubilee Edition'' ''The Ultimate Edition'' ''Contemporary Works I'' ''Contemporary Works II''

Year !! Title !! Discs !! Copies
1993	''Silver Edition''	10
1995	|	10	2000
1997	|	25	1000
2000	|	50
2000	|	10
2002	|	5	2002

;Notes: :Collecting ''Silver'', ''Historic'', and ''Jubilee'' sets, with additional 5 discs. :A bonus sixth disc included with the first 333 copies.

Reissues from sets

! Year	! Title	! From
2005	''Vanity of Sounds''	''Contemporary Works I'' (2000)
2006	''The Crime of Suspense''	''Contemporary Works I'' (2000)
2006	''Ballett 1''	''Contemporary Works I'' (2000)
2006	''Ballett 2''	''Contemporary Works I'' (2000)
2007	''Ballett 3''	''Contemporary Works I'' (2000)
2007	''Ballett 4''	''Contemporary Works I'' (2000)
2008	''Virtual Outback''	''Contemporary Works II'' (2002)
2009		''The Ultimate Edition'' (2000)
2009		''The Ultimate Edition'' (2000)
2009		''The Ultimate Edition'' (2000)
2009		''The Ultimate Edition'' (2000)
2010		''The Ultimate Edition'' (2000)
2010		''The Ultimate Edition'' (2000)
2010		''The Ultimate Edition'' (2000)
2010		''The Ultimate Edition'' (2000)
2011		''The Ultimate Edition'' (2000)
2011		''The Ultimate Edition'' (2000)

''The Dark Side of the Moog'' series

The Dark Side of the Moog is a Klaus Schulze collaboration with Pete Namlook (joined also by Bill Laswell on volumes 4 to 7). Each title is a distortion of Pink Floyd song and album titles.

Year !! Title !! Pink Floyd Title
1994	''The Dark Side of the Moog: Wish You Were There''	Wish You Were Here (Pink Floyd song)>Wish You Were Here"
1994
1995
1996	''The Dark Side of the Moog IV: Three Pipers at the Gates of Dawn''
1996	''The Dark Side of the Moog V: Psychedelic Brunch''
1997
1998
1999	''The Dark Side of the Moog VIII: Careful With the AKS, Peter''
2002	''The Dark Side of the Moog: The Evolution of the Dark Side of the Moog''
2002
2005	''The Dark Side of the Moog X: Astro Know Me Domina''
2008	''The Dark Side of the Moog XI: The Heart of Our Nearest Star''

''The Evolution of the Dark Side of the Moog'' is a compilation album, containing excerpts from the first 8 volumes. The series was announced as officially concluded with volume 10 when on 21 March 2005 at 14:52 CET, Pete Namlook sold the Big Moog synthesizer that was the symbol of the series. However, a volume 11 appeared on Namlook's website on 15 April 2008.

Collaborations

''Go (Go album)

Year !! Title !! Collaborator
1970	''Electronic Meditation''	Tangerine Dream
1971	Ash Ra Tempel (album)>Ash Ra Tempel''
1973	Tarot (Walter Wegmüller album)>Tarot''
1973	''Join Inn''
1973	''Lord Krishna von Goloka''
1974	The Cosmic Jokers (album)>The Cosmic Jokers''
1974	''Planeten Sit-In''
1974	''Galactic Supermarket''
1974	''Sci Fi Party''
1974	''Gilles Zeitschiff''
1974	''Planet of Man''
1976	Go'' || Go
1976	Go Live from Paris'' >
1977	Go Too'' >
1979	French Skyline'' >
1984	Aphrica'' >
1984	Drive Inn (album)>Drive Inn''
1984	''Transfer Station Blue''
1987	Babel (album)>Babel''
2000	Friendship (Ash Ra Tempel album)>Friendship''
2000	''Gin Rosé at the Royal Festival Hall''
2009	''Come Quietly''

Promos

2003 ''Andromeda''

2004 ''Ion''

2009 ''Hommage à Polska'' (with Lisa Gerrard)

Compilations

1991 ''2001''

1994 ''The Essential 72–93''

1999 ''Trailer''

Lone tracks

This list includes only the tracks remaining uncollected after ''Lone Tracks'' (CD 50 of ''The Ultimate Edition'').

1993 "Nachtmusik Schattenhaft"– On the ''A Brief History of Ambient – Volume 2: Imaginary Landscapes'' compilation

1994 "Conquest of Paradise" – On the ''A Tribute to Henry (Gentleman) Maske'' single; Schulze was commissioned to replay the title track of ''1492'' by Vangelis

2000 "MM 9" – On the ''The Art of Sysyphus Vol. 4'' compilation

2002 "Manikin Jubilee" – On the ''Manikin Records: First Decade 1992–2002'' compilation limited to 777 copies

2003 "CrazyShow" – on ''CrazyShow'' (Alphaville)

2003 "The Opium Den" – on ''CrazyShow'' (Alphaville)

2004 "Schrittmacher" – On the ''Schrittmacher: Tasty Tracks Vol. 1'' compilation

2008 "Zenit" – On ''Sehnsucht Live'' (Schiller)

2008 "Invisible Musik" - On the ''Muting the Noise 01'' compilation

See also

Berlin School

Kosmische Musik

References

External links

Klaus Schulze.com - The official Klaus Schulze website.

Category:New Age musicians Category:German trance musicians Category:German electronic musicians Category:Tangerine Dream members Category:1947 births Category:Virgin Records artists Category:Living people Category:Krautrock

ar:كلاوس شولتزه ca:Klaus Schulze de:Klaus Schulze es:Klaus Schulze fa:کلاوس شولتز fr:Klaus Schulze gl:Klaus Schulze it:Klaus Schulze ka:კლაუს შულცე nl:Klaus Schulze ja:クラウス・シュルツェ pl:Klaus Schulze pt:Klaus Schulze ro:Klaus Schulze ru:Шульце, Клаус fi:Klaus Schulze sv:Klaus Schulze uk:Клаус Шульце

West Philippine Sea or Western Philippine Sea may refer to:

The western portion of the Philippine Sea to the east of the Philippines

A neologistic synonym for the South China Sea to the west of the Philippines