Brian Eno: Oblique Music

Cover......Page 1
Half Title......Page 2
Title......Page 4
Copyright......Page 5
Dedication......Page 6
Contents......Page 8
Contributors......Page 10
IntroductionBrian Eno: A problem of organization......Page 14
Part one Eno: Composer, musician and theorist......Page 22
  1......Page 24
  2......Page 28
  3......Page 31
  4......Page 34
  Conclusion......Page 38
  References......Page 40
 2 Brian Eno, non-musicianship and the experimental tradition......Page 42
  Brian Eno: The ‘Musical Non-.Musician’......Page 43
  Brian Eno: The experimental musician......Page 45
  Portsmouth Sinfonia: ‘The World’s Worst Orchestra’......Page 47
  Scratch Orchestra: ‘Assembling for Action’......Page 51
  Discreet (Non-)Music......Page 55
  References......Page 59
  1......Page 62
  2......Page 64
  3......Page 70
  4......Page 78
  References......Page 80
 4 Between the avant-garde and the popular: The discursive economy of Brian Eno’s musical practices......Page 82
  Theory and disputation: New Musical Express and Melody Maker......Page 85
  Lectures and laughter: Sounds and Zigag......Page 89
  Conclusion: Between the avant-garde and the popular......Page 92
  References......Page 95
 5 Yes, but is it music? Brian Eno and the definition of ambient music......Page 98
  Ambient music as art......Page 100
  The uses of art......Page 103
  Time, space, sound, silence......Page 107
  The Ambient albums......Page 110
  References......Page 116
  Ambient film music......Page 118
  Call of the bones......Page 121
  Collaboratively produced leitmotifs......Page 124
  Paradoxical proception......Page 126
  References......Page 128
 7 The voice and/of Brian Eno......Page 132
  Eno and voice – from Here Come the Warm Jets (1973) to Before and After Science (1977)......Page 133
  Brian Eno – My Squelchy Life (1991) and Nerve Net (1992)......Page 136
  Brian Eno and J. Peter Schwalm – Drawn from Life (2001)......Page 137
  Brian Eno – Another Day on Earth (2005)......Page 138
  Brian Eno and Rick Holland – Drums Between the Bells and Panic of Looking (2011)......Page 141
  Eno Hyde – Someday World and High Life (2014)......Page 143
  Eno and the post-human voice......Page 144
  Notes......Page 147
  References......Page 148
Part Two The University of Eno: Production and collaborations......Page 150
 8 Before and after Eno: Situating ‘The Recording Studio as Compositional Tool’......Page 152
  Eno and the experimental 1960s......Page 153
  Eno in New York......Page 157
  The recording studio as compositional tool......Page 160
   Space and materiality......Page 161
   Painting and sculpting sound......Page 162
   Extension of timbre and texture......Page 163
   Eno’s history of music production......Page 164
  Before Cage and Eno......Page 167
  Satie, Russolo and Varèse......Page 168
  Modernism and phonomanipulation......Page 170
  Graphical sound......Page 173
  The United States......Page 175
  John Cage and ‘The Future of Music: Credo’......Page 177
  Musique concrète and Schaeffer......Page 179
  Notes......Page 181
  References......Page 183
  1......Page 188
  2......Page 189
  3......Page 190
  4......Page 191
  5......Page 192
  6......Page 193
  7......Page 194
  8......Page 195
  9......Page 196
  10......Page 197
  11......Page 198
  12......Page 199
  13......Page 200
  14......Page 201
  15......Page 202
  References......Page 203
 10 Avant-gardism, ‘Africa’ and appropriation in My Life in the Bush of Ghosts......Page 206
  The studio as collagist tool......Page 208
  Inspiration for My Life in the Bush of Ghosts:  Eno’s collaborations......Page 211
  ‘Moonlight in Glory’......Page 214
  Primitivist modernism, redux?......Page 216
  My Life in the Bush of Ghosts as ‘surrealist’ or ‘postmodern’ ethnography?......Page 217
  Notes......Page 220
  References......Page 221
 11 Eno and Devo......Page 224
  The beginning was the end . . .......Page 225
  Devo’s ‘analogue underscore’......Page 227
  Eno’s Oblique Strategies......Page 229
  Q: Are We Not Men? A: We Are DEVO!......Page 232
  ‘Jocko Homo’......Page 236
  ‘If we were U2 . . .’......Page 239
  Notes......Page 241
  References......Page 244
 12 Another Green World? Eno, Ireland and U2......Page 248
  The Egghead and the Mullet......Page 251
  Music and approaches to production......Page 254
  Historicizing Eno......Page 259
  An-‘Other’ Green World......Page 262
  Notes......Page 265
  References......Page 266
 13 Documenting no wave: Brian Eno as urban ethnographer......Page 270
  Eno in New York......Page 271
  No New York......Page 274
  References......Page 279
 Ambient installation music releases......Page 282
 Collaborations......Page 283
 Other record appearances......Page 284
 Other discographical references......Page 285
Index......Page 288