Auf der Seite https://www.lumenlondon.com/ sind alle „Licht-Kompositionen“ von Brian Eno doku- mentiert. https://brian-eno.net/index.html ist im wesentlichen eine Seite zum Bestellen von CDs und DVDs Ein weiteres Buch ist Lysaker, John T. (2018): Brian Eno's Ambient 1: Music for Airports. Oxford Scholarship Online. Abstract: This study situates Eno’s ambient masterpiece, Music For Airports, within various avant-garde trends in order to underscore its multiple dimensions. In the manner of Satie, it aims to tint living situations without demanding that listeners give the album their full attention. In the manner of Cage, and with La Monte Young’s feel for the textures of individual tones, it arranges the activity of sounds outside traditional Euro-American musical conventions, and in a manner that can spark a kind of thoughtful reverie, thus bringing art into vital, possibly transformative contact with everyday life. Finally, like some of Steve Reich’s works, Music for Airports functions as a piece of conceptual art, facilitating sustained reflections on creativity, listening, and the overall ecology of human activity and meaning, including its technological variability. Be- cause the album has these three distinct dimensions, it requires “prismatic listening,” which switches between distinct modes of attention in the knowledge that these dimensions cannot be heard simultaneously. BRIAN ENO HIS MUSIC AND THE VERTICAL COLOR OF SOUND by Eric Tamm (c) 1988 by Eric Tamm DEDICATION This book is dedicated to my parents, Igor Tamm and Olive Pitkin Tamm. In my childhood, my father sang bass and strummed guitar, my mother played piano and violin and sang in choirs. Together they gave me a love and respect for music that will be with me always. i TABLE OF CONTENTS ACKNOWLEDGEMENTS ..................................................................................................................... iv PART I – ENO IN THE WORLD OF MUSIC CHAPTER ONE: ENO’S WORK IN PERSPECTIVE ............................................................................ 1 CHAPTER TWO: BACKGROUND AND INFLUENCES ................................................................... 11 CHAPTER THREE: ON OTHER MUSIC: ENO AS CRITIC .............................................................. 21 CHAPTER FOUR: THE EAR OF THE NON-MUSICIAN .................................................................. 34 Art School and Experimental Works, Process and Product ................................................................ 34 On Listening ........................................................................................................................................ 35 Craft and the Non-Musician ................................................................................................................ 37 CHAPTER FIVE: LISTENERS AND AIMS ......................................................................................... 44 Eno’s Audience .................................................................................................................................... 44 Eno’s Artistic Intent ............................................................................................................................. 47 “Generating and Organizing Variety in the Arts” ............................................................................... 49 CHAPTER SIX: THE COMPOSITIONAL PROCESS ......................................................................... 54 Equipment ............................................................................................................................................ 54 Systems of Composing ........................................................................................................................ 63 Verbal Expression and Lyrics .............................................................................................................. 66 CHAPTER SEVEN: THE MUSICIAN AS PHILOSOPHER ................................................................ 74 Ultimate Realities ................................................................................................................................ 74 Culture and Information ...................................................................................................................... 76 The Masculine and the Feminine ......................................................................................................... 77 Politics ................................................................................................................................................. 79 Metaphors and Images ......................................................................................................................... 80 PART II -­ ENO’S MUSIC CHAPTER EIGHT: TAKING ROCK TO THE LIMIT ......................................................................... 84 The Albums ......................................................................................................................................... 85 CHAPTER NINE: ENO’S PROGRESSIVE ROCK: THE MUSIC ...................................................... 94 Assaultive Rock Songs ........................................................................................................................ 97 Pop Songs .......................................................................................................................................... 100 Strange Songs .................................................................................................................................... 102 Hymn-like Songs ............................................................................................................................... 105 Instrumental Pieces ............................................................................................................................ 105 CHAPTER TEN: THE AMBIENT SOUND ........................................................................................ 113 Long Ambient Pieces ......................................................................................................................... 114 Short Ambient Pieces ........................................................................................................................ 120 CHAPTER ELEVEN: COLLABORATIONS...................................................................................... 129 ii With Robert Fripp .............................................................................................................................. 129 With David Bowie ............................................................................................................................. 134 With Talking Heads and David Byrne ............................................................................................... 136 CHAPTER TWELVE: ESSENCE, HISTORY, AND BEAUTY ........................................................ 140 The Music’s Essence ......................................................................................................................... 140 The Music’s History .......................................................................................................................... 142 The Music’s Beauty ........................................................................................................................... 145 GLOSSARY.......................................................................................................................................... 150 BIBLIOGRAPHY ................................................................................................................................. 159 ENO DISCOGRAPHY ......................................................................................................................... 178 Solo Progressive Rock Albums ......................................................................................................... 178 Solo Ambient Albums ....................................................................................................................... 179 Rock Collaborations .......................................................................................................................... 181 Ambient Collaborations ..................................................................................................................... 183 Rock Productions ............................................................................................................................... 183 The Obscure Label ............................................................................................................................. 184 Other .................................................................................................................................................. 184 OTHER MUSIC CITED ....................................................................................................................... 186 Epilog – 1989-1995 ............................................................................................................................... 192 Eno's Music of the 1990s ................................................................................................................... 193 Eno on the Internet ............................................................................................................................. 196 Bibliography Update 1995 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