Editing Progressive music (section)

==Pop and rock==
{{Main article|Progressive pop|Progressive rock}}
{{See also|Art rock|Art pop|New Pop|Album era}}
{{Further|Experimental pop|Experimental rock}}

===Definitions===

"Progressive rock" is almost synonymous with "[[art rock]]"; the latter is more likely to have experimental or avant-garde influences.<ref name="AMProg">{{cite web|url=http://www.allmusic.com/subgenre/prog-rock-ma0000002798|website=[[AllMusic]]|title=Prog-Rock}}</ref> Although a unidirectional English "progressive" style emerged in the late 1960s, by 1967, progressive rock had come to constitute a diversity of loosely associated style codes.{{sfn|Cotner|2000|p=90}}{{refn|group=nb|The term was also partly related to [[progressive politics]], but those connotations were lost early in the 1970s.{{sfn|Robinson|2017|p=223}}}} With the arrival of a "progressive" label, the music was dubbed "[[progressive pop]]" before it was called "[[progressive rock]]".{{sfn|Moore|2004|p=22}}{{refn|group=nb|Starting in about 1967, "pop music" was increasingly used in opposition to the term "rock music", a division that gave generic significance to both terms.<ref>{{cite book|last1=Gloag|first1=Kenneth|editor1-last=Latham|editor1-first=Alison|title=The Oxford Companion to Music|date=2006|publisher=Oxford University Press|location=Oxford|isbn=0-19-866212-2|url-access=registration|url=https://archive.org/details/isbn_9780198662129}}</ref>}} "Progressive" referred to the wide range of attempts to break with the standard pop music formula.{{sfn|Haworth|Smith|1975|p=126}} A number of additional factors contributed to the label—lyrics were more poetic, technology was harnessed for new sounds, music approached the condition of "art", some harmonic language was imported from jazz and [[Romantic music|19th-century classical music]], [[Album Era|the album format overtook singles]], and the studio, rather than the stage, became the focus of musical activity, which often involved creating music for listening, not dancing.{{sfn|Moore|2016|pp=201–202}}

===Background===
{{See also|Acid rock|Proto-prog|Psychedelic rock}}
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 |quote=Up until the mid 1960s, individual idiolects always operated within particular styles. What was so revolutionary about this post-[[hippie]] music that came to be called 'progressive'&nbsp;... was that musicians acquired the facility to move between styles—the umbilical link between idiolect and style had been broken.
 |source=—Allan Moore{{sfn|Moore|2004|p=22}}
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During the mid 1960s, pop music made repeated forays into new sounds, styles, and techniques that inspired public discourse among its listeners. The word "progressive" was frequently used, and it was thought that every song and single was to be a "progression" from the last.{{sfn|Hewitt|Hellier|2015|p=162}} In 1966, the degree of social and artistic dialogue among rock musicians dramatically increased for bands such as [[the Beach Boys]], [[the Beatles]], and [[the Byrds]] who fused elements of [[cultivated music|composed (cultivated) music]] with the [[vernacular music|oral (vernacular) musical traditions]] of rock.{{sfn|Holm-Hudson|2013|p=85}} Rock music started to take itself seriously, paralleling earlier attempts in jazz (as swing gave way to bop, a move which did not succeed with audiences). In this period, the [[popular song]] began signaling a new possible means of expression that went beyond the three-minute [[love song]], leading to an intersection between the "underground" and the "establishment" for listening publics.{{sfn|Moore|2016|p=201}}{{refn|group=nb|Allan Moore writes; "It should be clear by now that, although this history appears to offer a roughly chronological succession of styles, there is no single, linear history to that thing we call ''popular song''.&nbsp;[...] Sometimes it appears that there are only peripheries. Sometimes, audiences gravitate towards a centre. The most prominent period when this happened was in the early to mid 1960s when it seems that almost everyone, irrespective of age, class or cultural background, listened to the Beatles. But by 1970 this monolothic position had again broken down. Both [[the Edgar Broughton Band]]'s 'Apache Dropout' and [[Edison Lighthouse]]'s '[[Love Grows (Where My Rosemary Goes)|Love grows]]' were released in 1970 with strong Midlands/London connections, and both were audible on the same radio stations, but were operating according to very different aesthetics."{{sfn|Moore|2016|pp=199–200}}}} The Beach Boys' leader [[Brian Wilson]] is credited for setting a precedent that allowed bands and artists to enter a recording studio and act as their own producers.{{sfn|Edmondson|2013|p=890}}

The music was developed immediately following a brief period in the mid 1960s where creative authenticity among musical artists and consumer marketing coincided with each other.{{sfn|Willis|2014|p=219}} Before the progressive pop of the late 1960s, performers were typically unable to decide on the artistic content of their music.{{sfn|Willis|2014|p=217}} Assisted by the mid 1960s economic boom, record labels began investing in artists, giving them freedom to experiment, and offering them limited control over their content and marketing.<ref name=Moore202/>{{refn|group=nb|This situation fell in disuse after the late 1970s and would not reemerge until the rise of [[Internet]] stars.{{sfn|Moore|2016|p=202}}}} The growing student market serviced record labels with the word "progressive", being adopted as a marketing term to differentiate their product from "commercial" pop.<ref name=Moore202/> [[Music journalism|Music critic]] [[Simon Reynolds]] writes that beginning with 1967, a divide would exist between "progressive" pop and "mass/chart" pop, a separation which was "also, broadly, one between boys and girls, middle-class and working-class".{{sfn|Reynolds|2006|p=398}}{{refn|group=nb|The [[New Pop]] movement of the 1980s was an attempt to bridge this divide.{{sfn|Reynolds|2006|p=398}}}} Before progressive/art rock became the most commercially successful British sound of the early 1970s, the 1960s [[psychedelia|psychedelic movement]] brought together art and [[commercialism]], broaching the question of what it meant to be an artist in a mass medium.{{sfn|Frith|Horne|2016|p=99}} Progressive musicians thought that artistic status depended on personal autonomy, and so the strategy of "progressive" rock groups was to present themselves as performers and composers "above" normal pop practice.{{sfn|Frith|Horne|2016|pp=74, 99–100}}{{refn|group=nb|By 1970, a journalist at ''[[Melody Maker]]'' highlighted progressive pop as the "most fascinating and recent development" in popular music, writing that the music is "meant for a wide audience but which is intended to have more permanent value than the six weeks in the charts and the 'forget it' music of older pop forms".{{sfn|Jacobshagen|Leniger|Henn|2007|p=141}}}}

[[File:DarkSideOfTheMoon1973.jpg|thumb|[[Pink Floyd]] performing ''[[The Dark Side of the Moon]]'' (1973), the best-selling album of the entire progressive rock period.{{sfn|Priore|2005|p=79}}]]

"[[Proto-prog]]" is a retrospective label for the first wave of progressive rock musicians.{{sfn|Holm-Hudson|2013|p=84}} The musicians that approached this genre harnessed [[modern classical]] and other genres usually outside of traditional rock influences, longer and more complicated compositions, interconnected songs as medley, and studio composition.{{sfn|Greene|2016|p=182}} Progressive rock itself evolved from [[psychedelic rock|psychedelic]]/[[acid rock]] music,{{sfn|Holm-Hudson|2013|p=85}} specifically a strain of classical/symphonic rock led by [[the Nice]], [[Procol Harum]], and [[the Moody Blues]].<ref name="AMProg"/>{{refn|group=nb|Author Doyle Greene believes that the "proto-prog" label can stretch to "the later [[Beatles]] and [[Frank Zappa]]", [[Pink Floyd]], [[Soft Machine]], and [[United States of America (band)|United States of America]].{{sfn|Greene|2016|p=182}} Edward Macan says that psychedelic bands like the Nice, the Moody Blues, and Pink Floyd represent a proto-progressive style and the first wave of English progressive rock.{{sfn|Holm-Hudson|2013|p=84}}}} Critics assumed [[King Crimson]]'s debut album ''[[In the Court of the Crimson King]]'' (1969) to be the logical extension and development of late 1960s proto-progressive rock exemplified by the Moody Blues, Procol Harum, [[Pink Floyd]], and the Beatles.{{sfn|Macan|2005|p=75}} According to Macan, the album may be the most influential to progressive rock for crystallizing the music of earlier "proto-progressive bands&nbsp;[...] into a distinctive, immediately recognizable style".{{sfn|Macan|1997|p=23}} He distinguishes 1970s "classic" prog from late 1960s proto-prog by the conscious rejection of psychedelic rock elements, which proto-progressive bands continued to incorporate.{{sfn|Macan|2005|p=xxiii}}

===Post-progressive===
{{Main|Post-progressive}}
{{See also|Post-punk|New wave music}}

"[[Post-progressive]]" is a term invented to distinguish a type of rock music from the persistent "progressive rock" style associated with the 1970s.{{sfn|Hegarty|Halliwell|2011|p=224}} In the mid to late 1970s, progressive music was denigrated for its assumed pretentiousness, specifically the likes of [[Yes (band)|Yes]], [[Genesis (band)|Genesis]], and [[Emerson, Lake & Palmer]].{{sfn|Rojek|2011|p=28}} According to musicologist John Covach, "by the early 1980s, progressive rock was thought to be all but dead as a style, an idea reinforced by the fact that some of the principal progressive groups has developed a more commercial sound. [...] What went out of the music of these now ex-progressive groups [...] was any significant evocation of art music."{{sfn|Covach|1997|p=5}} In the opinion of King Crimson's [[Robert Fripp]], "progressive" music was an attitude, not a style. He believed that genuinely "progressive" music pushes stylistic and conceptual boundaries outwards through the appropriation of procedures from classical music or jazz, and that once "progressive rock" ceased to cover new ground – becoming a set of conventions to be repeated and imitated – the genre's premise had ceased to be "progressive".{{sfn|Macan|1997|p=206}} {{anchor|Progressive punk}}

A direct reaction to prog came in the form of the [[punk movement]], which rejected classical traditions,{{sfn|Rojek|2011|p=28}} virtuosity, and textural complexity.{{sfn|Covach|1997|p=5}}{{refn|group=nb|Groups such as [[the Sex Pistols]], [[the Clash]], and the [[Ramones]] adopted a "back-to-basics" stance, embracing the roots of rock music with direct sentiments, simple chord structures, and uncluttered arrangements.{{sfn|Rojek|2011|p=28}} While punk rock appeared to be a negation of progressive rock, both styles of music derived from the idea of a cultural alternative.{{sfn|Macan|2005|p=250}} }} [[Post-punk]], which author Doyle Green characterizes "as a kind of {{'}}'''progressive punk'''{{'"}},{{sfn|Greene|2014|p=173}} was played by bands like [[Talking Heads]], [[Pere Ubu]], [[Public Image Ltd]], and [[Joy Division]].{{sfn|Rojek|2011|p=28}} It differs from punk rock by balancing punk's energy and skepticism with a re-engagement with an [[art school]] consciousness, [[Dadaist]] experimentalism, and atmospheric, ambient soundscapes. It was also majorly influenced from [[world music]], especially African and Asian traditions.{{sfn|Rojek|2011|p=28}} In the same period, [[new wave music]] was more sophisticated in production terms than some contemporaneous progressive music, but was largely perceived as simplistic, and thus had little overt appeal to art music or art-music practice.{{sfn|Covach|1997|p=5}} Musicologist [[Bill Martin (philosophy)|Bill Martin]] writes; "[Talking] Heads created a kind of new-wave music that was the perfect synthesis of punk urgency and attitude and progressive-rock sophistication and creativity. A good deal of the more interesting rock since that time is clearly 'post-Talking Heads' music, but this means that it is post-progressive rock as well."{{sfn|Martin|1998|p=251}}