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Ahlvist, Jarl. 2001. “Sound and Vision: Using Progressive Rock to Teach Social Theory.” Teaching Sociology, 29/4: 471-482.

 

Ahlkvist, Jarl. 2011. “‘What Makes Rock Music ‘Prog’? Fan Evaluation and the Struggle to Define Progressive Rock." Popular Music and Society, 34/5: 639-660. 

 

Albiez, Sean. 2003. “Know history!: John Lydon, Cultural Capital and the Prog/Punk Dialectic.” Popular Music, 22/3: 357–74.

Albiez, Sean.  2003. “Sounds of Future Past: From Neu! to Numan.” In Pop Sounds: Klangtexturen in der Pop – und Rockmusik, eds. Thomas Phelps and Ralf von Appen, 129–52. Verlag. 

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Anderson, Kimberley. 2019. “‘Rearrange Me ‘Til I’m Sane’: Utopia and Spiritual Experience Encountering The Dark Side of the Moon.” Rock Music Studies, 7/1: 82-94.

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Anderton, Chris. 2009. ‘“Full Grown From the Head of Jupiter’? Lay Discourses and Italian Progressive Rock.” In De-Canonizing Music History, eds. Vesa Kurkela and Lauri Vakeva, 97–112. Cambridge Scholars Publishing.

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Anderton, Chris. 2010. “A Many-Headed Beast: Progressive Rock as a European Meta Genre.” Popular Music, 29/3: 417-436.

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Anderton, Chris. 2016. “Fire in Harmony: the 1980s UK British Progressive Rock Revival.” In Prog Rock in Europe, ed. Philippe Gonin, 151-164. Editions Universitaires de Dijon.

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Anderton, Chris. 2020. “Introduction to the Special Issue on Progressive Rock.” Rock Music Studies, 7/1: 1-7.

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Anderton, Chris, and Chris Atton. 2020. “The Absent Presence of Progressive Rock in the British Music Press, 1968-1974.” Rock Music Studies, 7/1: 8-22.

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Anderton, Chris. 2022. “‘Exiles in Madison Square Garden’: Critical Reception and Journalistic Narratives of Progressive Rock in Melody Maker Magazine, 1971–1976.” In Media Narratives in Popular Music, eds. Chris Anderton and Martin James, 91-108. Bloomsbury Academic.

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Asbjørnsen, Peter. 2000. Scented Gardens of the Mind: A Guide to the Golden Era of Progressive Rock in More Than 20 European Countries. Borderline Productions.

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Atton, Chris. 2001. “‘Living in the Past’?: Value Discourses in Progressive Rock Fanzines.” Popular Music, 20/1: 29–46.

Bannister, Matthew. 2005. “Dark Side of the Men: Pink Floyd, Classic Rock and White Masculinities.” In Speak to Me: The Legacy of Pink Floyd’s The Dark Side of the Moon, ed. Russell Reising, 43-44. Ashgate Press. 

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Barnes, Mike. 2020. A New Day Yesterday: UK Progressive: Rock & the 1970s. Omnibus Press.

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Baron, Lee and Ian Inglis. 2005. “We’re Not in Kansas Anymore”: Music, Myth and Narrative Structure in The Dark Side of the Moon.” In Speak to Me: The Legacy of Pink Floyd’s The Dark Side of the Moon, ed. Russell Reising, 56-68. Ashgate Press. 

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Barotto, Paolo. 1998. The Return of Italian Pop. Vinyl Magic Books. 

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Bennett, Andy. 2022. “‘Never Mind the B …, Here’s Three Minutes of Prog’: Rethinking Punk’s Impact on Progressive Rock in Britain During the Late 1970s.” In Media Narratives in Popular Music, eds. Chris Anderton and Martin James, 125-140. Bloomsbury Academic.

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Blakeley, Ryan. 2017. “‘Genre and Influence’: Tracing the Lineage of Timbre and Form in Steven Wilson’s Progressive Rock.” MA thesis, University of Ottawa.

 

Bluml, Jan. 2019. “The Impact of Chris Cutler and Rock Opposition on Czech Rock Music in the Communist Era.” Rock Music Studies, 7/1: 34-48.

 

Bowman, Durrell. 2002. “‘Let Them All Make Their Music’: Individualism, Rush, and the Progressive/Hard Rock Alloy, 1976-77.” In Progressive Rock Reconsidered, ed. Kevin Holm-Hudson, 183-220. Routledge Press. 

 

Braae, Nick. 2014. “Queen’s Classical Music References, 1973-76; Or Was Queen a Progressive Rock Band?” MA thesis, University of Dijon.

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Burns, Robert. 2018. Experiencing Progressive Rock: A Listener’s Companion. Rowman & Littlefield.

 

Burns, Lori. 2020. “Multimodal and Transmedia Subjectivity in Animated Music Video: Jess Cope and Steven Wilson’s ‘Routine’ from Hand. Cannot. Erase. (2015).” In Transmedia Directors: Artistry, Industry, and New Audiovisual Aesthetics, eds. Carol Vernallis, Holly Rogers, and Lisa Perrott, 331–349. Bloomsbury.

 

Burns, Lori, and Laura McLerean. 2020. “‘Interpreting the Materials of a Transmedia Storyworld’: Word-Music-Image in Steven Wilson’s Hand. Cannot. Erase.” In The Bloomsbury Handbook of Music Production, eds. Simon Zagorski-Thomas and Andrew Bourbon, 393–404. Bloomsbury.

 

Burns, Lori, and Patrick Armstrong. 2021. “‘Structuring Subjectivity’: Pain of Salvation’s The Perfect Element, Part I(2000).” Metal Music Studies, 7/3: 357-382. Special Issue: Crosstown Traffic: Metal Music Studies at the Intersection of Theory and Practice.

 

Cateforis, Theo. 2002. “How Alternative Turned Progressive: The Strange Case of Math Rock.” In Progressive Rock Reconsidered, ed. Kevin Holm-Hudson, 243-260. Routledge Press. 

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Cohen, Gilad. 2018. “‘The Shadow of Yesterday’s Triumph’: Pink Floyd’s “Shine On” and the Stage Theory of Grief.” Music Theory Spectrum, 40/1: 106-120. 

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Cohen, Gilad. 2015. “Expansive Form in Pink Floyd’s “Dogs.” Music Theory Online, 21/2. <https://mtosmt.org/issues/mto.15.21.2/mto.15.21.2.cohen.html>

 

Cope, Julian. 1995. Krautrock Sampler: One Head’s Guide to the Great Kosmische Music – 1968 Onwards. Head Heritage.

 

Cope, Julian. 2003. Marillion/Separated Out: the Complete History 1979-2002. Helter Skelter Publishing.

 

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Cotner, John. 2002. “Pink Floyd’s ‘Careful With That Axe, Eugene’: Toward a Theory of Textural Rhythm in Early Progressive Rock.” In Progressive Rock Reconsidered, ed. Kevin Holm-Hudson, 65-90. Routledge Press. 

 

Covach, John. 1997. "Progressive Rock, ‘Close to the Edge’, and the Boundaries of Style." In Understanding Rock: Essays in Musical Analysis, ed. Graeme Boone, 3-31. Oxford University Press. 

 

 Covach, John. 1998. “The Music’s All That Matter: A History of Progressive Rock.” Notes, 55/1: 77. 

 

Covach, John. 2000. "Jazz-Rock? Rock-Jazz? Stylistic Crossover in Late-1970s American Progressive Rock." In Expression in Pop-rock Music: A Collection of Critical and Analytical Essays, ed. Walter Everett, 93-110. Garland.

 

Covach, John. 1997. “Progressive rock, ‘Close to the Edge’, and the Boundaries of Style.” In Understanding Rock: Essays in Musical Analysis, eds. John Covach and Graeme Boone, 3–31. Oxford University Press.

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Covach, John. 2000. “Echolyn and American Progressive Rock.” Contemporary Music Review, 18/4: 13-61.

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Covach, John. 2005. "Form in Rock Music: A Primer." In Engaging Music: Essays in Music Analysis, ed. Deborah Stein, 65-76. Oxford University Press.

 

Covach, John. 2005–06. “The Hippie Aesthetic: Cultural Positioning and Musical Ambition in Early Progressive Rock.” In Proceedings of the International Conference “Composition and Experimentation in British Rock 1966-1979.”Philomusica-online, special edition. <http://www-1.unipv.it/britishrock1966-1976/testien/cov1en.htm>

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Covach, John. 2008. “Jazz-rock? Rock-jazz?: Stylistic Crossover in late-1970s American Progressive Rock.” In Expression in Pop-Rock Music. Critical and Analytical Essays, ed. W. Everett, 93–110. Routledge Press.

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Covach, John, and Spicer Mark 2010. "A Study of Maximally Smooth Voice Leading in the Mid-1970s Music of Genesis." In Sounding out Pop: Analytical Essays in Popular Music, ed. Mark Spicer, 99-133. University of Michigan Press. 

 

Croce, Agusto. 2008. Italian Prog: The Comprehensive Guide 1967-1979. AMS. 

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Cutler, Chris. 1991. File Under Popular: Theoretical and Critical Writings on Music. Autonomedia.

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Donnelly, Kevin J. 2013. “Visualizing Live Albums: Progressive Rock and the British Concert Film in the 1970s.” In The Music Documentary: Acid Rock to Electro-Pop, eds. Benjamin Halligan, Robert Edgar and Kirsty Fairclough-Isaacs, 178-181. Routledge Press.

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Dowd, Timothy. 2014. “Music Festivals as Trans-National Scenes: The Case of Progressive Rock in the Late Twentieth and Early Twenty-First Centuries.” In The Festivalization of Culture, eds. Andy Bennett, Jodie Taylor and Ian Woodward, 147-168. Routledge Press.

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Dowd, Timothy. 2014. “The Remembering: Heritage-Work at US Progressive-Rock Festivals, 1993-2012.” In Sites of Popular Music Heritage, ed. Sarah Cohen, Robert Knifton, Marion Leonard, and Les Roberts, 17. Routledge. 

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Dowd, Timothy, Trent Ryan, and Yun Tai. 2016. “Talk of Heritage: Critical Benchmarks and DIY Preservationism in Progressive Rock.” Popular Music and Society, 39/1: 97-125.

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Dowd, Timothy, Trent Ryan, Vaughn Schmutz, Dionne Parris, Ashlee Bledsoe, and Dan Semenza. 2021. “Retrospective Consecration Beyond the Mainstream: The Creation of a Progressive Rock Canon.” American Behavioral Scientist, 65/1: 116-139.

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Draganova, Asa, Shane Blackman and Andy Bennett. 2021. The Canterbury Sound in Popular Music: Scene, Identity and Myth. Emerald Publishing.

 

Edgar, Roberts, Fairclough-Isaac Kirsty, Halligan Benjamin, and Spelman Nicola. 2015. “Through a Lens Darkly: The Changing Performer-Audience Dynamic as Documented by Four Progressive Rock Concert Films.” In The Arena Concert: Music, Mediation and Mass Entertainment, eds. Robert Edgar, Benjamin Halligan, Kirsty Fairclough-Isaacs, and Nicola Spelman, 45-56. Bloomsbury.

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Elicker, Martina. 2001. “Concept Albums: Song Cycles in Popular Music.” In Word and Music Studies: Essays on the Song Cycle and on Defining the Field, ed. Walter Bernhart and Werener Wolf and David Mosley, 227-48. Editions Rodopi.  

Everett, Walter. 2008. “Large-Scale Strategy and Compositional Design in the Early Music of Genesis.” In Expression in Pop-Rock Music, ed. Walter Everett, 313–44. Routledge Press. 

 

Ewing, Jerry. 2017. Wondrous Stories: A Journey through the Landscape of Progressive Rock. Flood Gallery.

 

Ford, Peter. 1994. “The Compositional Style of Keith Emerson in ‘Tarkus’ (1971) for the Rock Music Trio Emerson, Lake, and Palmer.” PhD dissertation, Indiana State University.

 

Frankeny, Justin. 2020. “Genre and/as Distinction: the Mars Volta and the Symbolic Boundaries of Progressive Rock.” MA thesis, University of North Carolina.

 

Freeman, Steven, and Alan Freeman. 2007. The Crack in the Cosmic Egg: Encyclopedia of Krautrock, Kosmische Musik and Other Progressive, Experimental and Electronic Musics from Germany. Audion Productions.

 

Garcia-Peinazo, Diego. 2019. “‘The World’s First Flamenco Rock Band’?: Anglo-American Progressive Rock, Politics and National Idenity in Spain Around Carmen’s Flamenco in Space.” Rock Music Studies, 7/1: 67-81. 

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Gracyk, Theodore. 2001. I Wanna Be Me: Rock Music and the Politics of Identity. Tempelton University Press. 

Gurin, François, and André François. 1991. The History of British Progressive Rock of the Eighties. Yellow Submarine.

 

Hatch, Craig 2016. “The Horror of Progressive Rock. Goblin and Horror Soundtracks.” In Italian Horror Cinema, eds. Stefano Baschiera and Russ Hunter, 175-190. Edinburgh University Press.

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Hegarty, Paul, and Martin Halliwell. 2011. Beyond and Before: Progressive Rock since the 1960s. Continuum.

 

Holm-Hudson, Kevin. 2001. "The Future Is Now ... and Then: Sonic Historiography in Post-1960s Rock." Genre, 34/3-4: 243-64. 

 

Holm-Hudson, Kevin. 2002. “The American Metaphysical Circus of Joseph Byrd’s United States.” In Progressive Rock Reconsidered, ed. Kevin Holm-Hudson, 43-64. Routledge Press.

 

Holm-Hudson, Kevin. 2002. Progressive Rock Reconsidered. Routledge Press.

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Holm-Hudson, Kevin. 2002. "A Promise Deferred: Multiply Directed Time and Thematic Transformation in Emerson Lake & Palmer’s ‘Trilogy’." In Progressive Rock Reconsidered, 111-120. Routledge Press.

 

Holm-Hudson, Kevin. Forthcoming. “Genesis’s Selling England by the Pound: The Nexus of ‘Old’ and ‘New’ Britain.” In The Cambridge Companion to Progressive Rock, ed. John Covach. Cambridge University Press.

 

Holm-Hudson, Kevin. 2003. “Apocalyptic Otherness: Black Music and Extraterrestrial Identity in the Music of Magma.” Popular Music and Society, 26/4: 481–96.

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Holm-Hudson, Kevin. 2005. “‘Come Sail Away’ and the Commodification of ‘Prog-Lite’,” American Music, 23/3: 377-394.

 

Holm-Hudson, Kevin. 2005. "‘Worked out within the Grooves’: The Sound and Structure of the Dark Side of the Moon. " In Speak to Me: The Legacy of Pink Floyd’s Dark Side of the Moon, ed. Russell Reising, 69-86. Ashgate Press.

 

Holm-Hudson. 2007. “‘Tell Mussorgsky the news’: Emerson, Lake, and Palmer's ‘Pictures at an Exhibition’ as open work.” In Music, Meaning, Media, Acta Semiotica Fennica 16 and Studia Musicologica Universitatis Helsingiensis 15, eds. Richard Littlefield and Erkki Pekkilä, 232-245. International Semiotics Institute at Imatra and University of Helsinki.

 

Holm-Hudson, Kevin. 2008. Genesis and The Lamb Lies Down on Broadway. Ashgate Press. 

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Holm-Hudson, Kevin. 2010. “How Peter Gabriel Got His Mojo Working.” In Peter Gabriel: From Genesis to Growing Up, eds. Michael Drewett, Kimi Kärki, and Sarah Hill, 43-55. Ashgate Press. 

 

Holm-Hudson, Kevin. 2018. “Emerson, Lake and Palmer’s ‘Toccata’ and the Cyborg Essence of Alberto Ginastera.” In The Routledge Companion to Popular Music Analysis: Expanding Approaches, eds. Ciro Scotto, Kenneth Smith, and John Brackett, 265-274. Routledge Press.

 

Horst, Dirk von der. 2002. “Precarious Pleasures: Situating ‘Close to the Edge’ in Conflicting Male Desires.” In Progressive Rock Reconsidered, ed. Kevin Holm-Hudson, 167-182. Routledge Press. 

 

Hung, Eric. 2005. “Hearing Emerson, Lake, and Palmer Anew: Progressive Rock as ‘Music of Attractions.’” Current Musicology, 79/80: 245-259.

 

Johnes, Martin. 2018. “Consuming Popular Music: Individualism, Politics, and Progressive Rock.” The Journal of the Social History Society, 15/1: 115-134. 

 

Josephson, Nors. 1992. "Bach Meets Liszt: Traditional Formal Structures and Performance Practices in Progressive Rock." The Musical Quarterly, 76/1: 67-92. 

 

Kari, Kimi, Rebecca Leydon, and Henri Terho. 2002. “The Music of Magma: Trance, Otherness, and Apocalypse.” In Looking Back, Looking Ahead: Popular Music Studies 20 Years Later, eds. Kimi Kärki, Rebecca Leydon, and Henri Terho, 278-291. International Association for the Study of Popular Music.

 

Karki, Kimi. 2005. “‘Matter of Fact It’s All Dark’: Audiovisual Stadium Rock Asthetics in Pink Floyd’s The Dark Side of the Moon Tour 1973.” In Speak to Me: The Legacy of Pink Floyd’s The Dark Side of the Moon, ed. Russell Reising, 27-42. Ashgate Press. 

 

Karl, Gregory. 2002. “King Crimson’s Larks’ Tongues in Aspic: A Case of Convergent Evolution.” In Progressive Rock Reconsidered, ed. Kevin Holm-Hudson, 121-142. Routledge Press. 

 

Kawamoto, Alan. 2005. “‘Can you still keep your balance’?: Keith Emerson’s Anxiety of Influence, Style Change, and the Road to Prog Superstardom.” Popular Music, 24/2: 223–44.

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Keeling, Andrew. 2009. Musical Guide to In the Court of the Crimson King by King Crimson. Spaceward.

 

Keister, Jay, and Jeremy Smith. 2008. “Musical Ambition, Cultural Accreditation and the Nasty Side of Progressive Rock.” Popular Music, 27/3: 433–55.  

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Koss, Michael. 2011. “From Prog to Pop: Progressive Rock Elements in the Pop-Rock Music of Genesis, 1978-91.” PhD thesis, University of Arizona. 

 

Lambe, Stephen. 2011. Citizens of Hope and Glory: The Story of Progressive Rock. Amberley Publishing. 

 

Letts, Marianne Tatom. 2010. Radiohead and the Resistant Concept Album: How to Disappear Completely. Indiana University Press.

 

Lucky, Jerry. 1998. The Progressive Rock Files. Collector’s Guide Publishing.

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Lucky, Jerry. 2000. 20th Century Rock and Roll – Progressive Rock. Collector’s Guild Publishing.

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Lundberg, Mattias. 2014. “‘Let It Be Without Pretense’: Canon, Fugue, and Imitation in Progressive Rock 1968-1979.” Music Theory Online, 20/3: 36-51.

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Madro, Andrzej. 2017. “From Psychedelia to Djent -- Progressive Genres as a Paradox of Pop Culture.” In Popular Music Studies Today: Proceedings of the International Association for the Study of Popular Music, ed. Julia Merrill, 159-167. Springer.

 

Macan, Edward. 1997. Rocking the Classics: English Progressive Rock and the Counter-Culture. Oxford University Press.

 

Macan, Edward. 2006. Endless Enigma. A Musical Biography of Emerson, Lake and Palmer. Open Court Press.

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Martin, Bill. 1996. Music of Yes: Structure and Vision in Progressive Rock. Open Court Press. 

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Martin, Bill. 1998. Listening to the Future: the Time of Progressive Rock. Open Court Press. 

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Martin, Bill. 2002. Avant Rock. Experimental Music from the Beatles to Bjork. Open Court Press. 

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McDonald, Christopher. 2009. Rush, Rock Music, and the Middle Class. Indiana University Press.

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Mills, Peter. 2005. “The Whole of the Moon: ‘Brain Damage,’ ‘Eclipse,’ and the Mythic Narrative of the Pink Floyd.” In Speak to Me: The Legacy of Pink Floyd’s The Dark Side of the Moon, ed. Russell Reising, 158-176. Ashgate Press. 

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Melançon, Jérôme and Alexander Carpenter. 2015. “Is Progressive Rock Progressive? YES and Pink Floyd as Counterpoint to Adorno.” Rock Music Studies, 2/2: 125-147. 

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Moore, Allan, Martin Remi. 2018. The Primary Text: Developing a Musicology of Rock. 3rd ed. Routledge Press.

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Moore, Allan. 2004.  Aqualung. Continuum.

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Moore, Allan, and Ibrahim Anwar. 2005. “Sounds like Teen Spirit’: Identifying Radiohead’s Idiolect.” In The Music and Art of Radiohead, ed. Joseph Tate, 139-158. Ashgate Press.

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Moore, Allan. 2005–2006. “Gentle Giant’s Octopus.” Proceedings of the International Conference “Composition and Experimentation in British Rock 1966-1979.” Philomusica-online, special issue. <http://www-1.unipv.it/britishrock1966-1976/testien/moo1en.htm>

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Moore, Allan. 2012. Song Means: Analysing and Interpreting Recorded Popular Song. Ashgate Press.

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Moore, Allan. 2016. “Shreds of Memory in Post-Millennial Prog.” In Reflexionen zum Progressive Rock, eds. Martin Lucke and Klaus Naumann, 116-137. Allitera.  

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Moore, Allan, and Remi Martin. 2019. The Primary Text: Developing a Musicology of Rock. 3rd ed. Routledge Press. 

 

Moore, Allan, and Sarah Hill. “Progressive Rock in the Janus Decade.” In The Oxford Handbook of Progressive Rock, eds. Allan Moore and Sarah Hill, Oxford University Press.

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O’Donnell, Shaugn. 2005. “On the Path: Tracing Tonal Coherence in Dark Side of the Moon.” In   ‘Speak to Me’: The Legacy of Pink Floyd’s The Dark Side of the Moon, 87-103.

 

Osborn, Brad. 2011. “Understanding Through-Composition in Post-Rock, Math-Metal, and Other Post-Millennial Rock Genres.” Music Theory Online, 17/3. <mtosmt.org/issues/mto.11.17.3/mto.11.17.3.osborn.html>  

 

Osborn, Brad. 2013. "Subverting the Verse–Chorus Paradigm: Terminally Climactic Forms in Recent Rock Music." Music Theory Spectrum, 35/1: 23-47. 

 

Palmer, John. 2001. “Yes, ‘Awaken’, and the Progressive Rock Style.” Popular Music, 30/2: 243-261.

 

Pethel, Blair Woodruff. 1987. “Keith Emerson: The Emergence and Growth of Style. A Study of Selected Works.” MA thesis, Johns Hopkins University.

 

Piekut, Benjamin. 2019. Henry Cow: The World is a Problem. Duke University Press.

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Pirenne, Christophe. 2005–2006. “Romanticism vs. Economy: Technologies and the Growth of Progressive Rock.”  Proceedings of the International Conference, “Composition and Experimentation in British Rock 1966-1979.” Philomusica-online, special issue. <http://www-1.unipv.it/britishrock1966-1976/testien/pir1en.htm

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Reising, Russell. 2005. “‘And if the Band You’re in Starts Playing Different Tunes’: An Interview With Mike Gordon of Phish.” In Speak to Me: the Legacy of Pink Floyd’s The Dark Side of the Moon, ed. Russell Reising, 218-223. Ashgate Press.

 

Reising, Russell. 2005. “The Moons are Eclipsed by the Moon: Covering the Dark Side.” In Speak to Me: The Legacy of Pink Floyd’s The Dark Side of the Moon, ed. Russell Reising,189-209. Ashgate Press. 

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Reising, Russell. 2005. “The Jamaican Side of the Moon: An Interview With Michael Goldwasser of Easy Star Records.” In Speak to Me: The Legacy of Pink Floyd’s The Dark Side of the Moon, ed. Russell Reising, 224-226. Ashgate Press.  

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Reising, Russell. 2005. “On the Waxing and Waning: A Brief History of The Dark Side of the Moon.” In Speak to Me: The Legacy of Pink Floyd’s The Dark Side of the Moon, ed. Russell Reising, 15-26. Ashgate Press. 

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Reising, Russell. 2005. Speak to Me: The Legacy of Pink Floyd’s The Dark Side of the Moon. Ashgate Press.

 

Regev, Motti. 2013.  Pop-Rock Music: Aesthetic Cosmopolitanism in Late Modernity. Polity Press. 

 

Robinson, Emily. “Ahead of Their Time: From Progressive Rock to the Progressive Alliance.” Juncture, 22/3: 220-224. 

 

Robison, Brian. 2002. "King Crimson’s ‘Dinosaur’ as (Post)Progressive Historiography." In Progressive Rock Reconsidered, ed. Kevin Holm-Hudson, 221-242. Routledge Press. 

 

Romano, Will. 2010. Mountains Come out of the Sky: The Illustrated History of Prog Rock. Backbeat Books.

 

Rose, Phil.  2015. Roger Waters and Pink Floyd: The Concept Albums. Fairleigh Dickinson University Press. 

 

Rufner, Marguerite. 2009. “Women’s Attitudes Toward Progressive Rock Radio.” Journal of Broadcasting, 17/1: 85-94. 

 

Rycenga, Jennifer. 2002. “Tales of Change Within Sound: Form, Lyrics, and Philosophy in the Music of Yes.” In Progressive Rock Reconsidered, ed. Kevin Holm-Hudson, 143-166. Routledge Press. 

 

Saluena, Eduardo. 2019. “‘Tened cuidado con el poder’: Politics, Authenticity, and Identity Conflicts in Spanish Progressive Rock (1970-1981).” Rock Music Studies, 7/1: 49-66.

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Sheinbaum, John J. 2002. “Progressive Rock and the Inversion of Musical Values.” In Progressive Rock Reconsidered, ed. Kevin Holm-Hudson, 21–42. Routledge Press.  

 

Sheinbaum, John . 2008. "Periods in Progressive Rock and the Problem of Authenticity." Current Musicology, 85: 21-51. <https://currentmusicology.columbia.edu/article/periods-in-progressive-rock-and-the-problem-of-authenticity/.>

 

Shleifer, Ben. 2005. “Eclipsing: The Influence of The Dark Side of the Moon on the Next Generation’s Music Through Radiohead’s Ok Computer.” In Speak to Me: The Legacy of Pink Floyd’s The Dark Side of the Moon, ed. Russell Reising, 208-217. Ashgate Press. 

 

Shrefler, Anne. 2013. “‘Music Left and Right’: A Tale of Two Histories of Progressive Rock Music.” In Red Strains: Music and Communism Outside the Communist Bloc, ed. Robert Adlington, 67-87. Oxford University Press. 

 

Simonelli, David. 2007. “BBC Rock Music Programming on Radio and Television and the Progressive Rock Audience, 1967–1973.” Popular Music History, 2/1: 95-112.

Sora, Andrei. 2019. “Transsylvania Pheonix, Romanian Ethno-Rock, and the Politics of Folk Music.” Rock Music Studies, 7/1: 23-33. 

Spicer, Mark. 2004. “Accumulative Form in Pop-Rock Music.” Twentieth-Century Music, 1/1: 29–64.

 

Spicer, Mark. 2008. “Large-Scale Strategy and Compositional Design in the Early Music of Genesis.” In Expression in Pop-Rock Music. Critical and Analytical Essays, 2nd ed., ed. Walter Everett, 313–44. Routledge Press. 

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Spelman, Nicola. 2005. “Reversing Us and Them: Anti-Psychiatry and The Dark Side of the Moon.” In Speak to Me: The Legacy of Pink Floyd’s The Dark Side of the Moon, ed. Russell Resing, 123-142. Ashgate Press. 

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Stump, Paul. 2010. The Music's All That Matters: A History of Progressive Rock. 2nd ed. Harbour Books. 

 

Tillekens, Ger. 2005. “The Key to Quiet Desperation: Modulating Between Misery and Madness.” In Speak to Me: The Legacy of Pink Floyd’s The Dark Side of the Moon, ed. Russell Reising, 104-122. Ashgate Press. 

 

Wagner, Jeff. 2010. Mean Deviation: Four Decades of Progressive Heavy Metal. Brazilian Points Books.

 

Walker, Greg. 2008. “Selling England (and Italy) by the Pound: Performing National Identity in the First Phase of Progressive Rock: Jethro Tull, King Crimson, and PFM.” In Performing National Identity, eds. Manfred Pfister, and Ralf Hertel, 287-306. Brill.

 

Weinstein, Deena. 2002. “Progressive Rock as Text: The Lyrics of Roger Waters.” In Progressive Rock Reconsidered, ed. Kevin Holm-Hudson, 91-110. Routledge Press. 

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Welch, Chris. 2007. Close to the Edge: The Story of Yes. updated ed. Omnibus Press.

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Whiteley, Sheila. 1992. The Space Between the Notes: Rock and the Counter-culture. Routledge Press.

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Whiteley, Sheila. 1990. “Progressive Rock and Psychedelic Coding in the Work of Jimi Hendrix.” Popular Music, 9/1: 37-60.

 

Whiteley, Sheila. 2005. “Prismatic Passion: The Enigma of The Great Gig in the Sky.” In Speak to Me: The Legacy of Pink Floyd’s The Dark Side of the Moon, ed. Russell Reising, 143-157. Ashgate Press. 

 

Womack, Kenneth. 2005. “Pink Floyd’s Levinasian Ethics: Reading The Dark Side of the Moon’s Philosophical Architecture.” In The Legacy of Pink Floyd’s The Dark Side of the Moon, ed. Russell Reising, 177-187. Ashgate Press. 

 

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