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dc.contributor.authorAlbiez, Sean*
dc.contributor.authorDockwray, Ruth*
dc.date.accessioned2016-04-19T14:06:36Z
dc.date.available2016-04-19T14:06:36Z
dc.date.issued2016-08-11
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.
dc.identifier.isbn9781441117458en
dc.identifier.urihttp://hdl.handle.net/10034/605895
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.
dc.language.isoenen
dc.publisherBloomsbury
dc.relation.urlhttp://www.bloomsbury.com/uk/brian-eno-9781441117458/
dc.subjectBrian Eno
dc.subjectComposition
dc.titleBefore and After Eno: Situating ‘The Recording Studio as Compositional Tool
dc.typeBook chapter
dc.contributor.departmentSouthampton Solent University; University of Chesteren
dc.date.accepted2016-02-20
or.grant.openaccessYesen
rioxxterms.funderunfundeden
rioxxterms.identifier.projectunfundeden
rioxxterms.versionAMen
rioxxterms.licenseref.startdate2216-08-11en
refterms.dateFCD2019-07-15T15:57:33Z
refterms.versionFCDAM
html.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.


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