Editing Progressive music (section)

== Soul and funk ==
{{Main|Progressive soul}}
{{see also|Alternative R&B|avant-funk|neo soul}}

[[File:Stevie Wonder 1973.JPG|thumb|left|upright|[[Stevie Wonder]], who released a series of prog-soul albums in the 1970s]]

"Progressive soul" is used by Martin to refer to a musical development in which many African-American recording artists by the 1970s were creating music in a manner similar to progressive rock.<ref>{{harvnb|Keister|2019|p=20}}; {{harvnb|Martin|1998|p=41}}.</ref> This development inspired greater musical diversity and sophistication, ambitious lyricism, and conceptual album-oriented approach in black pop.<ref>{{harvnb|Politis|1983|p=81}}; {{harvnb|Martin|1998|p=41}}; {{harvnb|Hoard|Brackett|2004|p=524}}.</ref> Among the musicians at its forefront were [[Sly Stone]], [[Stevie Wonder]], [[Marvin Gaye]], [[Curtis Mayfield]], and [[George Clinton (funk musician)|George Clinton]].{{sfn|Hoard|Brackett|2004|p=524}} According to [[Geoffrey Himes]], "the short-lived progressive-soul movement flourished" from 1968 to 1973 and demonstrated "adventurous rock guitar, socially conscious lyrics and classic R&B melody".{{sfn|Himes|1990}} Similar to contemporaneous white prog musicians, progressive black musicians in the 1970s directed their creative control toward ideals of "individualism, artistic progression and writing for posterity", according to music academic Jay Keister, who notes that this pursuit sometimes conflicted with the collective political values of the [[Black Arts Movement]].{{sfn|Keister|2019|p=9}}

Among the stylistic characteristics shared from progressive rock in black progressive music of this period were extended composition, diverse musical appropriation, and recording music intended for listening rather than dancing. Rather than the song-based extended compositions and suites of progressive white music, black counterparts in the 1970s generally unified an extended recording with an underlying rhythmic [[groove (music)|groove]]. Instrumental textures were altered in order to signify a change in section over an extended track's course. Examples of these characteristics include [[Funkadelic]]'s "Wars of Armageddon" (1971) and [[Sun Ra]]'s "[[Space Is the Place (Sun Ra album)|Space Is the Place]]" (1973).{{sfn|Keister|2019|pp=9-10}} Unlike the European art music appropriations used by white artists, progressive black music featured musical idioms from [[African music|African]] and [[African-American music]] sources. However, some also borrowed elements from European American traditions to augment a song's lyrical idea. For example, Wonder added pleasant-sounding instrumental textures from a string section to "Village Ghetto Land" (1976), lending a sense of irony to an otherwise bleak critique of social ills in urban ghettos.{{sfn|Keister|2019|p=10}}