Before and After Eno: Situating ‘The Recording Studio as Compositional Tool

Hdl Handle:
http://hdl.handle.net/10034/605895
Title:
Before and After Eno: Situating ‘The Recording Studio as Compositional Tool
Authors:
Albiez, Sean; Dockwray, Ruth
Abstract:
This chapter discusses Eno's work and lecture - Studio as a Compositional Tool. As previous studies have identified the importance of John Cage and post-Cageian experimental music for Eno, this study extends the flows of influence and counter-influence back to the second decade of the twentieth century, and situates Eno's Studio as a Compositional Tool lecture in the long history of twentieth century avant-garde and modernist debates concerning the future of music and the potential recording technologies afford. Therefore, the fundamental purpose of this study is to contextualise and situate the lecture in a way that has not been attempted previously. This will allow a broader understanding of ‘The Recording Studio as Compositional Tool’ as a dialogic, heteroglossic text that is in conversation with and channels the voices of others who, in the previous seven decades, had already considered and formulated responses to issues that Eno addressed at the end of the 1970s.
Affiliation:
Southampton Solent University; University of Chester
Citation:
Albiez, S., & Dockwray, R. (2016). Before and After Eno: Situating ‘The Recording Studio as Compositional Tool. In S. Albiez & D. Pattie (Eds.), Brian Eno: Oblique Music. Bloomsbury Academic.
Publisher:
Bloomsbury
Publication Date:
11-Aug-2016
URI:
http://hdl.handle.net/10034/605895
Additional Links:
http://www.bloomsbury.com/uk/brian-eno-9781441117458/
Type:
Book chapter
Language:
en
ISBN:
9781441117458
Appears in Collections:
Performing Arts

Full metadata record

DC FieldValue Language
dc.contributor.authorAlbiez, Seanen
dc.contributor.authorDockwray, Ruthen
dc.date.accessioned2016-04-19T14:06:36Zen
dc.date.available2016-04-19T14:06:36Zen
dc.date.issued2016-08-11en
dc.identifier.citationAlbiez, S., & Dockwray, R. (2016). Before and After Eno: Situating ‘The Recording Studio as Compositional Tool. In S. Albiez & D. Pattie (Eds.), Brian Eno: Oblique Music. Bloomsbury Academic.en
dc.identifier.isbn9781441117458en
dc.identifier.urihttp://hdl.handle.net/10034/605895en
dc.description.abstractThis chapter discusses Eno's work and lecture - Studio as a Compositional Tool. As previous studies have identified the importance of John Cage and post-Cageian experimental music for Eno, this study extends the flows of influence and counter-influence back to the second decade of the twentieth century, and situates Eno's Studio as a Compositional Tool lecture in the long history of twentieth century avant-garde and modernist debates concerning the future of music and the potential recording technologies afford. Therefore, the fundamental purpose of this study is to contextualise and situate the lecture in a way that has not been attempted previously. This will allow a broader understanding of ‘The Recording Studio as Compositional Tool’ as a dialogic, heteroglossic text that is in conversation with and channels the voices of others who, in the previous seven decades, had already considered and formulated responses to issues that Eno addressed at the end of the 1970s.en
dc.language.isoenen
dc.publisherBloomsburyen
dc.relation.urlhttp://www.bloomsbury.com/uk/brian-eno-9781441117458/en
dc.subjectBrian Enoen
dc.subjectCompositionen
dc.titleBefore and After Eno: Situating ‘The Recording Studio as Compositional Toolen
dc.typeBook chapteren
dc.contributor.departmentSouthampton Solent University; University of Chesteren
dc.date.accepted2016-02-20en
or.grant.openaccessYesen
rioxxterms.funderunfundeden
rioxxterms.identifier.projectunfundeden
rioxxterms.versionAMen
rioxxterms.licenseref.startdate2216-08-11en
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