Editing Progressive rock (section)

===Scope and related terms===
{{See also|Progressive pop|Art rock}}
The term "progressive rock" is synonymous with "[[art rock]]", "classical rock" (not to be confused with [[classic rock]]), and "symphonic rock".{{sfn|Covach|1997|p=5}} Historically, "art rock" has been used to describe at least two related, but distinct, types of rock music.{{sfn|Bannister|2007|p=37}} The first is progressive rock as it is generally understood, while the second usage refers to groups who rejected [[psychedelia]] and the [[Counterculture of the 1960s|hippie counterculture]] in favour of a [[modernist]], [[avant-garde]] approach.{{sfn|Bannister|2007|p=37}}{{refn|group=nb|In the rock music of the 1970s, the "art" descriptor was generally understood to mean "aggressively avant-garde" or "pretentiously progressive".<ref name="ArtPunkMurray">{{cite web|last1=Murray|first1=Noel|title=60 minutes of music that sum up art-punk pioneers Wire|url=http://www.avclub.com/article/60-minutes-music-sum-art-punk-pioneers-wire-219113|website=[[The A.V. Club]]|date=28 May 2015|access-date=16 February 2017|archive-date=31 October 2015|archive-url=https://web.archive.org/web/20151031075059/http://www.avclub.com/article/60-minutes-music-sum-art-punk-pioneers-wire-219113|url-status=live}}</ref>}} Similarities between the two terms are that they both describe a mostly British attempt to elevate rock music to new levels of artistic credibility. However, art rock 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|access-date=23 July 2016|archive-date=8 February 2016|archive-url=https://web.archive.org/web/20160208051215/http://www.allmusic.com/subgenre/prog-rock-ma0000002798|url-status=live}}</ref> "Prog" was devised in the 1990s{{sfn|Robinson|2017|p=223}} as a shorthand term, but later became a transferable adjective, also suggesting a wider palette than that drawn on by the most popular 1970s bands.{{sfn|Hegarty|Halliwell|2011|p=9}}

Progressive rock is varied and is based on fusions of styles, approaches, and genres, tapping into broader cultural resonances that connect to avant-garde art, [[classical music]] and [[folk music]], performance and the moving image.{{sfn|Hegarty|Halliwell|2011|p=13}} 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}} When the "progressive" label arrived, the music was dubbed "[[progressive pop]]" before it was called "progressive rock",{{sfn|Moore|2004|p=22}}{{refn|group=nb|From 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=https://archive.org/details/isbn_9780198662129}}</ref>}} with the term "progressive" referring to the wide range of attempts to break with standard pop music formula.{{sfn|Haworth|Smith|1975|p=126}} A number of additional factors contributed to the acquired "progressive" 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}}

{{quote box
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|quote=One of the best ways to define progressive rock is that it is a heterogeneous and troublesome genre – a formulation that becomes clear the moment we leave behind characterizations based only on the most visible bands of the early to mid-1970s
|source=– [[Paul Hegarty (musician)|Paul Hegarty]] and Martin Halliwell{{sfn|Hegarty|Halliwell|2011|p=13}}
|width=25%
}}

Critics of the genre often limit its scope to a stereotype of long solos, overlong albums, fantasy lyrics, grandiose stage sets and costumes, and an obsessive dedication to technical skill.{{sfn|Hegarty|Halliwell|2011|p=2}} While progressive rock is often cited for its merging of high culture and low culture, few artists incorporated literal classical themes in their work to any great degree,{{sfn|Holm-Hudson|2013|pp=16, 85–87}} and only a handful of groups purposely emulated or referenced classical music.{{sfn|Hegarty|Halliwell|2011|p=13}} Writer Emily Robinson says that the narrowed definition of "progressive rock" was a measure against the term's loose application in the late 1960s, when it was "applied to everyone from [[Bob Dylan]] to [[the Rolling Stones]]". Debate over the genre's criterion continued to the 2010s, particularly on [[Internet forum]]s dedicated to prog.{{sfn|Robinson|2017|p=223}}

According to musicologists [[Paul Hegarty (musician)|Paul Hegarty]] and Martin Halliwell, [[Bill Martin (philosophy)|Bill Martin]] and Edward Macan authored major books about progressive rock while "effectively accept[ing] the characterization of progressive rock offered by its critics. ... they each do so largely unconsciously."{{sfn|Hegarty|Halliwell|2011|p=2}} Academic John S. Cotner contests Macan's view that progressive rock cannot exist without the continuous and overt assimilation of classical music into rock.{{sfn|Cotner|2000|p=90}} Author Kevin Holm-Hudson agrees that "progressive rock is a style far more diverse than what is heard from its mainstream groups and what is implied by unsympathetic critics."{{sfn|Holm-Hudson|2013|p=16}}