Upload
rob-jewitt
View
453
Download
0
Embed Size (px)
DESCRIPTION
med332 lecture slides
Citation preview
Progressive rock? #med332 1
Rolling Stones magazine: Greatest album of all =me (2003)
2
I remember vividly Sergeant Pepper coming out—there was this incredible buzz of sheer disbelief. Wherever you went people would be playing it. Suddenly, with this astonishing music anything seemed possible. David Jackson (Van der Graaf Generator)
3
[The] ‘progressive rock era’ can be delineated, emerging around 1967–1969, peaking in terms of commercial and aesthe=c success from 1972 to 1974, and disappearing altogether (or at least returning to the musical underground) between 1977 and 1980 -‐-‐ Anderton, 2010: 418
4
5
The Big 6: Yes, Genesis, Emerson Lake and Palmer (ELP), Jethro Tull, King Crimson and Pink Floyd
6 Classical composi=on: mul=-‐movement suites
7
8
9
10
11
1. Quote a classical excerpt in the midst of a song (simplis=c)
2. Use a classical melody as the basis of a rock song (simplis=c, no stylis=c blending)
3. Create a series of rock songs conceived as units in a larger form (suites; thema=c unity desirable)
4. Adopt a full classical work to a rock-‐style performance (classical work transformed by rock instrumenta=on)
5. Create a work for rock group and classical ensemble (rock group partners with orchestra; blend of both forms)
6. Using the musical language of rock, create an extended work modeled ager a classical form (difficult to achieve; thema=c development and structure; classical music in the language of rock)
12
1. Quote a classical excerpt in the midst of a song (simplis=c)
2. Use a classical melody as the basis of a rock song (simplis=c, no stylis=c blending)
3. Create a series of rock songs conceived as units in a larger form (suites; thema=c unity desirable)
4. Adopt a full classical work to a rock-‐style performance (classical work transformed by rock instrumenta=on)
5. Create a work for rock group and classical ensemble (rock group partners with orchestra; blend of both forms)
6. Using the musical language of rock, create an extended work modeled ager a classical form (difficult to achieve; thema=c development and structure; classical music in the language of rock)
13
1. Quote a classical excerpt in the midst of a song (simplis=c)
2. Use a classical melody as the basis of a rock song (simplis=c, no stylis=c blending)
3. Create a series of rock songs conceived as units in a larger form (suites; thema=c unity desirable)
4. Adopt a full classical work to a rock-‐style performance (classical work transformed by rock instrumenta=on)
5. Create a work for rock group and classical ensemble (rock group partners with orchestra; blend of both forms)
6. Using the musical language of rock, create an extended work modeled ager a classical form (difficult to achieve; thema=c development and structure; classical music in the language of rock)
14
1. Quote a classical excerpt in the midst of a song (simplis=c)
2. Use a classical melody as the basis of a rock song (simplis=c, no stylis=c blending)
3. Create a series of rock songs conceived as units in a larger form (suites; thema=c unity desirable)
4. Adopt a full classical work to a rock-‐style performance (classical work transformed by rock instrumenta=on)
5. Create a work for rock group and classical ensemble (rock group partners with orchestra; blend of both forms)
6. Using the musical language of rock, create an extended work modeled ager a classical form (difficult to achieve; thema=c development and structure; classical music in the language of rock)
15
1. Quote a classical excerpt in the midst of a song (simplis=c)
2. Use a classical melody as the basis of a rock song (simplis=c, no stylis=c blending)
3. Create a series of rock songs conceived as units in a larger form (suites; thema=c unity desirable)
4. Adopt a full classical work to a rock-‐style performance (classical work transformed by rock instrumenta=on)
5. Create a work for rock group and classical ensemble (rock group partners with orchestra; blend of both forms)
6. Using the musical language of rock, create an extended work modeled ager a classical form (difficult to achieve; thema=c development and structure; classical music in the language of rock)
16
1. Quote a classical excerpt in the midst of a song (simplis=c)
2. Use a classical melody as the basis of a rock song (simplis=c, no stylis=c blending)
3. Create a series of rock songs conceived as units in a larger form (suites; thema=c unity desirable)
4. Adopt a full classical work to a rock-‐style performance (classical work transformed by rock instrumenta=on)
5. Create a work for rock group and classical ensemble (rock group partners with orchestra; blend of both forms)
6. Using the musical language of rock, create an extended work modeled ager a classical form (difficult to achieve; thema=c development and structure; classical music in the language of rock)
17
‘lame affecta=ons of a cultured sensibility’ [seeking] ‘to dignify their work, to make it acceptable for upper-‐class approba=on’ -‐-‐Miller, 1980: 347-‐8
18
‘“ar=s=c” modes of musical expression – themes, arrangements, harmonies and forms that drew on classical models,
specifically those of the Roman=c composers of the nineteenth century
and the “na=onalist” composers such as Bartok, Delius, Copland and Dvorak.
-‐-‐ Aoon, 2001: 30
19
20
21
1. arrangements 2. a blending of acous=c, electric and
electronic instruments 3. a mix of sog and loud musical
passages 4. extended instrumental sec=ons
and solos 5. and the use of musical styles other
than the American blues/rock format common to much commercially popular music in Britain, Europe and the USA in the mid-‐1960s.
-‐-‐ Lucky, 1998: 120-‐1
22
‘a tendency to conflate “symphonic” progressive rock with progressive rock in general’
‘symphonic orthodoxy’
Ignores: ‘aleatoric and minimalist music’, ‘riff-‐based space-‐rock’ and ‘avante-‐garde and jazz-‐inflected’ styles -‐ Can -‐ Hawkwind -‐ Sog Machine
23
24
Aoon (2001: 31) refers to 3 dominant elements in the forma=on and development of progressive rock 1. its status as a commercial, popular
music product 2. its aim to achieve ‘art’ status as an
electrified form for classical music 3. the countercultural elements from
which it was born
25
Progressive rock was intended to be both popular (‘meant for a wide audience’ and long-‐las=ng (of ‘more permanent value than the six weeks in the chart and then forget it’) -‐-‐Dawbarn, Melody Maker 1969.
26
‘a scale and grandeur unparalleled in rock, and its inner complexi=es [to] rival those of the greatest classical composers’ -‐-‐ Williams, Melody Maker, 1970
27
By 1971, ‘the =me was ripe for the development of progressive rock’. -‐-‐ Palmer in DeCur=s, 2001: 243
Psychedelic origins
28
progressive rock heavy metal jazz-‐rock glam-‐rock
southern rock post-‐rock
Middle-‐class milieu
29
Bri=sh inspired by American music
experimental conceptual
Mul=media experience
• By the mid 1970s shows became more extravagant
• Huge projec=on screens • Strange costumes • Light shows • Huge tours
30
31
32
The legacy of prog?
• Elements of symphonic music today? • Concept albums today?
33
34