Editing Progressive rock (section)

===Relation to art and social theories===
{{See also|Formalism (music)|Eclecticism in music}}
In early references to the music, "progressive" was partly related to [[progressive politics]], but those connotations were lost during the 1970s.{{sfn|Robinson|2017|p=223}} On "progressive music", Holm-Hudson writes that it "moves continuously between explicit and implicit references to genres and strategies derived not only from European art music, but other cultural domains (such as East Indian, Celtic, folk, and African) and hence involves a continuous aesthetic movement between [[formalism (art)|formalism]] and [[Eclecticism in music|eclecticism]]".{{sfn|Holm-Hudson|2013|pp=85–87}}{{refn|group=nb|Formalism refers to a preoccupation with established external compositional systems, structural unity, and the autonomy of individual art works. Eclecticism, like formalism, connotes a predilection towards style synthesis, or integration. However, contrary to formalist tendencies, eclecticism foregrounds discontinuities between historical and contemporary styles and electronic media, sometimes referring simultaneously to vastly different musical genres, idioms and cultural codes. Examples include [[the Beatles]]' "[[Within You Without You]]" (1967) and [[Jimi Hendrix]]'s 1969 version of "[[The Star-Spangled Banner]]".{{sfn|Cotner|2000|p=93}}}} Cotner also says that progressive rock incorporates both formal and eclectic elements, "It consists of a combination of factors – some of them intramusical ('within'), others extramusical or social ('without')."{{sfn|Cotner|2000|p=91}}

One way of conceptualising [[rock and roll]] in relation to "progressive music" is that progressive music pushed the genre into greater complexity while retracing the roots of romantic and classical music.{{sfn|Willis|2014|pp=204, 219}} Sociologist [[Paul Willis]] believes: "We must never be in doubt that 'progressive' music followed rock 'n' roll, and that it could not have been any other way. We can see rock 'n' roll as a deconstruction and 'progressive' music as a reconstruction."{{sfn|Willis|2014|p=219}} Author Will Romano states that "rock itself can be interpreted as a progressive idea&nbsp;... Ironically, and quite paradoxically, 'progressive rock', the classic era of the late 1960s through the mid- and late 1970s, introduces not only the explosive and exploratory sounds of technology&nbsp;... but traditional music forms (classical and European folk) and (often) a pastiche compositional style and artificial constructs ([[concept album]]s) which suggests [[postmodernism]]."{{sfn|Romano|2010|p=24}}