What I want to get across is that you’d be in error to put Eno on a pedestal. He is also capable of capriciousness: For example, if his infamous Oblique Strategies cards (developed together with painter Peter Schimdt) tell Eno to erase everything and start all over again, he’ll do it. As a case in point, his slow and meticulous gradus ad parnassum approach to building up soundscapes was very much at odds with collaborator David Bowie’s first-take-is-the-best-take approach (see the hilarious video below). That isn’t to say he’s not a hard worker. If you haven’t already read Tamm’s book, you might not be aware that Eno has made a living all this time by running away from a day job. No doubt, he is also a lot wealthier thanks to his work with U2, and remains at the vanguard of popular music creative practice thanks to his embracing generative music and open source programming platforms (together with Peter Chilvers). Kudos!Įno has remained productive in the years since and is (arguably) even more influential today. Perhaps, the most striking revelations contained therein related to Eno’s down-to-earth character and his “somewhat superficial knowledge of the classical tradition and his disdain for its institutional infrastructure” (p. Gaining insight into Eno’s work and ideas became a lot easier with the release of Eric Tamm’s very fine book Brian Eno: His Music and the Vertical Colour of Sound (1989) (remember, this was before the internet). Eno could even make Pachabel’s Canon sound good (that is, after putting it through a procedural wringer!). You got the procedural kudos of John Cage et al combined with the sensuality of a Debussy. With Eno’s music you got to have your musical cake and eat it too. For the record, I love Ligeti’s work (you may have heard some in Kubrick’s The Shining)…fingernails and all. When I was studying composition at the Qld Conservatorium of Music in the late 1980s, all I ever heard about was “Brian Eno this,” and “Brian Eno that.” All of the students (and teachers for that matter) were so enamoured of Eno and his work (especially the ambient material) since it was “clever” (good) but didn’t sound anything like the fingernails down a blackboard of Ligeti or whoever-else was considered important at the time (even better). Theory themusic of Brian Wilson, and the phenomenology of record production. His previous publications explore such varied topics as sound in cinema the interrelatedness of humor, play and creativity
Marshall Heiser is an Australian academic, classically-trained instrumentalist, producer and music-technology developer. Popular Music, Power and Play holds up to repeated listens and is a welcome addition to both popular music studies and creativity research literature.” Alan Williams, Professor of Music, University of Massachusetts Lowell, USA “By assigning an individual fader to numerous theories on creativity, then incorporating case studies and reflections from several working musicians as filters and processors, Heiser has crafted the equivalent of a classic pop album balancing compositional elements that proudly bear their influences coupled with new ideas and insights that spark the mind.
Popular Music, PowerĪnd Play is as thought provoking as it will be indispensable for scholars, practitioners and aficionados of popular music and the First-hand interviews with Jerry Harrison (Talking Heads), Bill Bruford (KingĬrimson, Yes) and others whose work has influenced the way records are made today are also included. The influence of technology upon modern-day music. This innovative new framework is grounded in a diverse array of creative-practice examples spanning the CBGBs music scene to In order to demystify theĬontemporary popular-music-making phenomenon, Marshall Heiser reassesses its myriad processes and wider socioculturalĬontext through the lens of creativity studies, play theory and cultural psychology.
And while the creative possibilities available to everyday musiciansĪre seemingly endless, so too are the multiskilling and project management challenges to be faced. Project studio and internet streaming have made it so.
Once the domain of a privileged few, the art of record production is today within the reach of all. Available NOW from Bloomsbury Academicand all good booksellers.
0 kommentar(er)
