Brian Eno: Oblique Music (Arden Critical Companions)

Cover
Half Title
Title
Copyright
Dedication
Contents
Contributors
IntroductionBrian Eno: A problem of organization
Part one Eno: Composer, musician and theorist
	1 The Bogus Men: Eno, Ferry and Roxy Music
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		4
		Conclusion
		Note
		References
	2 Brian Eno, non-musicianship and the experimental tradition
		Brian Eno: The ‘Musical Non-.Musician’
		Brian Eno: The experimental musician
		Portsmouth Sinfonia: ‘The World’s Worst Orchestra’
		Scratch Orchestra: ‘Assembling for Action’
		Discreet (Non-)Music
		Notes
		References
	3 Taking the studio by strategy
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		4
		References
	4 Between the avant-garde and the popular: The discursive economy of Brian Eno’s musical practices
		Theory and disputation: New Musical Express and Melody Maker
		Lectures and laughter: Sounds and Zigag
		Conclusion: Between the avant-garde and the popular
		References
	5 Yes, but is it music? Brian Eno and the definition of ambient music
		Ambient music as art
		The uses of art
		Time, space, sound, silence
		The Ambient albums
		Note
		References
	6 The lovely bones: Music from beyond
		Ambient film music
		Call of the bones
		Collaboratively produced leitmotifs
		Paradoxical proception
		‘It’s a Wrap’
		Notes
		References
	7 The voice and/of Brian Eno
		Eno and voice – from Here Come the Warm Jets (1973) to Before and After Science (1977)
		Brian Eno – My Squelchy Life (1991) and Nerve Net (1992)
		Brian Eno and J. Peter Schwalm – Drawn from Life (2001)
		Brian Eno – Another Day on Earth (2005)
		Brian Eno and Rick Holland – Drums Between the Bells and Panic of Looking (2011)
		Eno Hyde – Someday World and High Life (2014)
		Eno and the post-human voice
		Notes
		References
Part Two The University of Eno: Production and collaborations
	8 Before and after Eno: Situating ‘The Recording Studio as Compositional Tool’
		Eno and the experimental 1960s
		Eno in New York
		The recording studio as compositional tool
			Space and materiality
			In-studio composition and additive/subtractive processes
			Painting and sculpting sound
			Transmission loss
			Extension of timbre and texture
			Eno’s history of music production
		Before Cage and Eno
		Satie, Russolo and Varèse
		Modernism and phonomanipulation
		Graphical sound
		The United States
		John Cage and ‘The Future of Music: Credo’
		Musique concrète and Schaeffer
		Conclusion
		Acknowlegement
		Notes
		References
	9 Control and surrender: Eno remixed – collaboration and Oblique Strategies
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		References
	10 Avant-gardism, ‘Africa’ and appropriation in My Life in the Bush of Ghosts
		The studio as collagist tool
		Inspiration for My Life in the Bush of Ghosts:  Eno’s collaborations
		‘Moonlight in Glory’
		Primitivist modernism, redux?
		My Life in the Bush of Ghosts as ‘surrealist’ or ‘postmodern’ ethnography?
		Notes
		References
	11 Eno and Devo
		The beginning was the end . . .
		Devo’s ‘analogue underscore’
		Eno’s Oblique Strategies
		Q: Are We Not Men? A: We Are DEVO!
		‘Jocko Homo’
		‘If we were U2 . . .’
		Acknowlegement
		Notes
		References
	12 Another Green World? Eno, Ireland and U2
		The Egghead and the Mullet
		Music and approaches to production
		Historicizing Eno
		An-‘Other’ Green World
		Notes
		References
	13 Documenting no wave: Brian Eno as urban ethnographer
		Eno in New York
		No New York
		References
Select discography
	Solo albums
	Ambient installation music releases
	Collaborations
	Producer / Co- Producer
	Other record appearances
	Obscure records releases (Label Head andProducer)
	Other discographical references
Index