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Call for Papers Progressive Rock: Beyond Time, Genre, Geography... The Krzysztof Penderecki Academy of Music September 5-7, 2024 Krakow (POLAND) ​Deadline: Jan 15, 2024 ​ ​Info Progressive Rock: Geography, Culture, Discourse Hosted by Sarah Hill at the University of Oxford August 27-29, 20 22 (Oxford, UK) ​Deadline Extended to Jan 31, 2022 ​ ​Info

Resources (under construction!) Web Resources Recent added: 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. Zak, Albin. 2008. “Rock and Roll Rhapsody: Pop Epics of the 1970s.” In Expression in Pop-Rock Music. Critical and Analytical Essays, 2nd ed., ed. W. Everett, 345–60. Routledge Press. ​ View Full List Print Sources Recent added: 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. Zak, Albin. 2008. “Rock and Roll Rhapsody: Pop Epics of the 1970s.” In Expression in Pop-Rock Music. Critical and Analytical Essays, 2nd ed., ed. W. Everett, 345–60. Routledge Press. ​ View Full List

PROGECT NETWORK International Association for the Study of Progressive Rock Music About The Progect Network aims to encourage and extend interdisciplinary scholarship, analysis and debate relating to the broad field of progressive rock and associated styles. Following fan-usage of the term, we define the field in a deliberately expansive fashion, incorporating the numerous sub-styles and genres that have emerged around the world since the late 1960s. ​ The Progect Network seeks to provide a focal point for scholarship in this broad field, and to develop a network of conferences, events and high-quality publications that establish the field of progressive rock as a growing and relevant academic sub-discipline of popular music studies. Scholars active in the association are advancing our knowledge and understanding of the history, production, marketing and consumption of progressive rock through a variety of research approaches and temporal and geographic contexts. We also seek to make connections between academia and industry practitioners in order to learn from each other and to share research perspectives and findings. Contact We Aim To Promote to promote all aspects of the study of progressive rock in all of its Musical Variety and Cultural Contexts To Build to build International Dialogue between scholars and practitioners who have an interest in progressive rock To Foster to foster the academic sub-discipline of progressive rock To Deliver to deliver international conferences and study events that further develop the sub-discipline

Conferences ​ The Progect Network was initiated by Allan Moore of the University of Surrey. From a “round robin” email communication that Allan Moore sent in 2010, a number of ideas emerged among a group of international scholars. The first conference was hosted by Allan Moore and Philippe Gonin at the Centre Georges Chevrier and the Université de Bourgogne. Following that first conference, the interest that developed led to a biennial conference offering. ​ We have run an international conference every two years, with past events held in Dijon (2014), Edinburgh (2016), Lund (2018) and Ottawa (2021). Our conference keynotes have included: ​ Franco Fabbri Simon Frith Allan Moore Bill Bruford (Yes, King Crimson, Genesis, Earthworks) Bernard Gueffier (Musea Records) Georgina Born Chris Atton John Covach Lars Lilliestam Paul Northfield (recording engineer) Sarah Hill ​ ​ The next conference will take place at The Krzysztof Penderecki Academy of Music in Krakow (Poland) in 2024 (September 5-7) ​ Call for Papers Progect 2022 Aug. 27-29, Oxford University, U.K. Coming soon, Stay tuned! Coming soon, Stay tuned! Upcoming Events Progect 2024 Sep 5-7, The Krzysztof Pe nderecki Academy of Music in Krakow (Poland) Click here for more info Coming soon, Stay tuned! Coming soon, Stay tuned! Past Events hosted by Progect Network 2021 Virtual Conference hosted by University of Ottawa, Canada ​ ​ ​ Visit website Lund Unversity, Sweden ​ ​ ​ See abstracts 2nd International Conference of the Progect Network for the study of Progressive Rock, 2016 hosted by University of Edinburgh, UK ​ ​ ​ See abstracts The Progect: Le Rock Progressif et la Recherche, 2014 hosted by le Centre Georges Chevrier (UMR CNRS 5605) et l'Université de Bourgogne, France ​ Visit website Progect 3, 2018

Call for Papers ​ Progressive Rock: Beyond Time, Genre, Geography... ​ The 6th Biennial International Conference of the Progect Network for Studies of Progressive Rock 5-7 SEPTEMBER 2024 The Krzysztof Penderecki Academy of Music in Krakow (POLAND) ​ The central idea for the Conference would be to combine creatively the two temporal dimensions in which Progressive Rock can be interpreted today: the past – from its genesis and original definitions through an analysis of the PROG classics to an attempt to read it anew; and the future – from meta-genre fusions to a critical post-progressive current. Hence, we suggest several subjects to be chosen by the participants and specific scopes to be included. MAIN TOPIC CATEGORIES: 1. Progressive Rock and Metal: Between Past and Future 2. Experiencing Progressive Rock: Then and Now 3. Retro vs Post Progressive Rock: Past Reflections and Future Visions 4. Interpreting Progressive Rock: From Analysis to Recontextualization DETAILED SUBJECTS ­– SPECIFIC SCOPES: Roots, Sources and Primal Concepts of PROG Mediating Progressive Rock/Metal Progressive Rock/Metal Fandom Aesthetics of Progressive Rock/Metal Neo- and Post-Progressive Future of PROG Prog Goes Global ‒ Globalization vs Glocalization of Progressive Music Progressive performance Between Prog and Jazz: Progressive Jazz ‒ Third Stream ‒ Fusion Progressive as eclectic meta- and post-genre Progressive Genres as Paradox of Pop Culture Other... The Programme Committee’s plan provides Two Keynote lectures 20-minute paper presentations (in two parallel sessions) Round table discussions Accompanying events Concert, Meeting with Polish PROG Artist We encourage researchers to present papers that develop an interdisciplinary approach to progressive rock across at least six fields: musicology, sociology, media studies, performance studies, philology, culture studies. We recommend stationary (live) participation. In exceptional circumstances, remote participation will be possible. Submission Procedure ​Scholars are invited to submit proposal abstracts for 20-minute presentations in English to prog24@amuz.krakow.pl by 15 January 2024 (contact person: Andrzej Mądro). ​ Please attach two files to the email submission, both in Word file format (.docx):​ 1. a proposal comprising only the paper title and abstract (300 words). This file should not include any identifying information. 2. a short document providing the following information: author name, institutional affiliation, a short bio (100 words), paper title, keywords, and any audio-visual equipment needs. ​ All abstracts will be subject to a peer-review process, with authors notified of acceptance by the end of February 2024. The results of the topic selection will be communicated by email, as will any registration information. Probable conference fee: Scholars: 140 EUR (full amount); students, doctoral students: 70 EUR (50% discount) The fee does not include travel and accommodation costs. The organisers will offer assistance in booking accommodation in Krakow at favourable prices. Programme committee: Sarah Hill (University of Oxford, U.K.) John Covach, (University of Rochester, U. S. A.) Chris Anderton (Solent University, U. K.) Lori Burns (University of Ottawa, Canada) Local organising committee: (The Krzysztof Penderecki Academy of Music in Krakow): Agnieszka Draus, Andrzej Mądro, Iwona Sowińska, Marcin Strzelecki ​

Call for Papers ​ Deadline extended to Jan 31, 2022 ​ Progressive Rock: Geography, Culture, Discourse ​ The 5th Biennial International Conference of the Progect Network for the Study of Progressive Rock ​ Hosted by Sarah Hill at the University of Oxford, August 27-29, 2022 (Oxford, UK) General enquiries about the conference can be sent by email to: Progect2022@gmail.com ​ In the late 1960s, the term ‘progressive’ was used to define music that transcended the commercial ‘pop’ product, and audiences that sought the wide range of hybridized forms that emerged from that time. This blurring of boundaries was enacted by musicians who had experience performing in rock, pop, folk, blues, and soul bands, as well as those with experience or training in orchestral music, jazz, electronic and other genres. Over the past half-century numerous hybrid sub-genres have subsequently emerged; progressive rock is now a global phenomenon with significant bodies of work found on every continent. This progressive meta-genre has created a rich culture, capable of sustaining a lively discourse both within its own circle, in the wider field of popular music studies, and beyond. The aim of this conference is to explore the discourses, cultures, and geographical particularities of progressive rock since its emergence in 1960s England. Extending from previous conferences held by the Progect Network in France (2014), Scotland (2016), Sweden (2018), and Canada (2021), the 2022 conference will bring together scholars whose work addresses the fifty-plus-year history of progressive rock and the many hybridized genres that are associated with the term. ​ We encourage submissions from scholars working in a range of disciplinary orientations, from the sociological to the musicological, to discuss themes including, but not limited to: ​ local and global-internet progressive rock scenes places, cities, landscapes as inspirations and musical themes progressive rock discourses within popular culture the integration of progressive music and non-rock styles & genres the definitions of progressive rock and the historic opposition between notions of the ‘progressive’ and ‘popular’ the historic and contemporary reception of progressive rock and its place in the academic study of music the audiovisual aesthetics of progressive music the ‘progressive’ impulse in mainstream popular music challenges to the assumption of ‘rock’ as central to the definition of ‘progressive’ progressive rock on screen (film, tv, gaming) progressive rock in live performance (discourse, staging, gesture and spectacle) do words matter? lyrics and language in progressive rock progressive rock and narrativity record production and technology in progressive rock intersectionality and the production and consumption of progressive rock progressive rock and the influence of mythology and literature dysoptian and utopian themes in progressive rock fandom and archiving practices in progressive rock the business of progressive rock ​ In recognition of the 50th anniversary of the release of Genesis’s Foxtrot, Yes’s Close to the Edge, Jethro Tull’s Thick As a Brick, and Gentle Giant’s Octopus, the conference will feature a roundtable and public event on the topic of these formative works. The programme committee therefore also welcomes panel proposals that address the questions and problems of the progressive rock ‘canon’. ​ Submission Procedure ​ Scholars are invited to submit proposal abstracts for 20-minute presentations in English to Progect2022@gmail.com by 15 January 2022. ​ Please attach two files to the email submission, both in Word file format (.docx): ​ a proposal comprising only the paper title and abstract (300 words). This file should not include any identifying information. a short document providing the following information: author name, institutional affiliation, a short bio (100 words), paper title, keywords, and any audio-visual equipment needs. ​ All abstracts will be subject to a peer-review process, with authors notified of acceptance by February 2022. ​ Program Committee ​ Sarah Hill (University of Oxford, U.K.) Lori Burns (University of Ottawa, Canada) Chris Anderton (Solent University, U.K.) Justin Williams (University of Bristol, U.K.) Andrzej Mądro (Krzysztof Penderecki Academy of Music in Kraków, Poland) Kimberley Anderson (University of St. Andrews, U.K.)

Call for Papers DEADLINE EXTENDED TO DECEMBER 15, 2021 Progressive Rock, Metal, and the Literary Imagination ​ Chris Anderton and Lori Burns, editors ​ Progressive Rock, Metal and the Literary Imagination will present analyses of progressive rock and metal music that reveals a striking engagement with literary texts and themes – from classic literature, mythology and poetry to science fiction, horror, and other genres. While many of the extant publications on progressive rock and metal have focused on the history of progressive rock, few have examined the ways that it intersects with the literary imagination, whether drawing on myths, legends, and stories as source material, or using storytelling modes to create new stories and worlds. Progressive rock musicians have often created concept albums based around these source materials and worlds, and they offer more than simply fantasy and escapism, with narratives and themes that comment on the social, cultural, and political milieux in which they are made. ​ The proposed book will be the first to examine the literary worlds and storytelling narratives of this body of music, with a focus on the following key perspectives for progressive rock and metal: ​ Theoretical tools for the analysis of narrative Literary adaptations Myths and mythologies Dystopian and utopian visions Subjectivities and identities We welcome proposals from a wide range of geographical and literary contexts, and from scholars working in a variety of disciplines. ​ ​ Chapter and Proposal Instructions: ​ Chapters will range from 5000-5500 words. Chapters of joint authors representing several disciplines might reach 6000 words. ​ 350-word abstracts will contain: ​ Information about the band, album, song, etc., and general background information Summary of the engagement with literature and narrative Declaration of analytic goals and focus Description of the methodology and analytic techniques to be applied Relevant references Timeline: ​ Proposals should be submitted by Dec 15, 2021 to progliterary@gmail.com Decisions: January, 2022 Chapters due: December, 2022 ​ ​ ​

Introduction to Brazilian Progressive Rock in the 1970s – Context and Discography Cláudia Souza Nunes de Azevedo and Lauro Wanderley Meller Cláudia Souza Nunes de Azevedo holds PhD and Master’s degrees in Music from the Program of Post-Graduation in Music/UNIRIO (Federal University of the State of Rio de Janeiro). At the same institution, she was a lecturer on popular music analysis during her post-doctoral research on music ́s meaning. She was a visiting researcher in the Department of Musicology at the University of Oslo (2008), Assistant Editor of IASPM Journal (2010), former board member of ISMMS (International Society for Metal Music Studies) and co-editor of Made in Brazil – Studies in Popular Music (Routledge, 2015). She is currently a member of Música: História, Memória, Acervos [Music: History, Memory, Collections] research group based at UNIRIO. ​ Lauro Wanderley Meller is Associate professor at the School of Science and Technology, Federal University of Rio Grande do Norte, Brazil. PhD in Literature from the Pontifical University of Minas Gerais, with a post-doctoral stay at the Institute of Popular Music, University of Liverpool, UK. Author of Poets or Songsters? A Discussion on Popular Music and Literary Poetry (2015) andIron Maiden: A Journey through History (2018). In the beginning of the 1970s, Brazil was going through the darkest period of the military dictatorship (1964-1985), which from 1968 onwards hardened its actions against the opponents of the regime. Caetano Veloso and Gilberto Gil, who had masterminded Tropicalia, had been sent to exile in London; protest songs broadcast in music festivals had been silenced, in favour of politically neutral songs; and the idyllic landscapes of Bossa Nova did not fit in this adverse context anymore. Nevertheless, the lesson taught by Tropicalia had resisted, allowing for aesthetic principles hitherto regarded as exclusionary, such as Bossa Nova’s cool singing, the screechy guitar sounds of Jovem Guarda and protest songs to co-exist, blending themselves to concert music, concrete poetry, the “New Cinema” and the fine arts. In the wake of these transformations and new possibilities, the 1970s saw the appearance of Brazilian progressive rock bands, which reconciled the information borrowed from Brazilian counterculture, particularly the tropicalist principle of cultural anthropophagy (a concept formulated by modernist poet Oswald de Andrade) – which made them “swallow” the sounds from the European tradition, mostly from the English psychedelic, hard rock and progressive rock bands, with the limitations imposed by the military dictatorship, both in terms of difficulties to acquire high quality equipment and from an expressive standpoint, i.e., censorship. This paper puts forward an introduction to progressive rock as developed in Brazil in the decade of 1970, and represented by bands such as Os Mutantes, o Terço, Módulo 1000, o Som Nosso de Cada Dia, Som Imaginário, Terreno Baldio, Moto Perpétuo, A Barca do Sol and Veludo among others. Some of them did not begin their careers as progressive acts, some were short-lived and others had a rotation in their line-ups. However, one can point out some common features to all of them, such as the quest for musical and thematic experimentation, with the inclusion of several timbres, technical virtuosity and lyrics which, if not openly political, recycled the hippie ideals of freedom. In order to carry out this research, we considered the bands’ discographies, interviews with the musicians available on the Internet, a survey of the academic production on progressive rock in Brazilian databases – still incipient –, and interviews with fans about their experience in the 1970s. ​ ​ Musical references ​ Tudo foi feito pelo sol – Os Mutantes https://www.youtube.com/playlist?list=OLAK5uy_kOwRlZvYYAQhs8y8s2pwaeZoioy7sxaWI ​ O “A” e o “Z” – Os Mutantes https://www.youtube.com/playlist?list=OLAK5uy_n3YQvxCwoL8iQ_oCOsx93NpDOnTl3DiLg ​ Criaturas da Noite – O Terço https://www.youtube.com/playlist?list=OLAK5uy_mdEOtHjkuG98xnH6kos8og-c_WSPm9VZM Casa Encantada – O Terço https://www.youtube.com/playlist?list=OLAK5uy_nZjaDPHPtVUegIh_zVJ42tERekkfSjzaY Não Fale Com Paredes - Módulo 1000 https://www.youtube.com/watch?v=BfeBetP6WS0&t=2s Snegs - Som Nosso De Cada Dia (Remaster, 2017) https://www.youtube.com/watch?v=eU7FxKpyVLI&t=7s Matança do Porco – Som Imaginário https://www.youtube.com/watch?v=f-Zh-af1FIs&t=457s Terreno Baldio – Terreno Baldio (English Version, 1993) https://www.youtube.com/watch?v=2105mAZqeWc&t=1828s Moto Perpétuo – Moto Perpétuo https://www.youtube.com/watch?v=_u0g3UEsJbc&t=1933s Durante o Verão - A Barca do Sol https://www.youtube.com/playlist?list=OLAK5uy_kiNpTeFE8Z8KOJu9FwKz-h15XHNSI6-NM Veludo ao Vivo – Veludo https://www.youtube.com/watch?v=SRT8ko3kGbk&t=1228s ​ ​

SCHEDULE Metal Music Composition: Evolution of Structure, Expression, and Production Edited by Ciro Scotto and Lori Burns ​ Proposal length: 200-300 words, with 1-2 sentences included on how the proposal fits with this project. Deadline: March 31, 2022 Address for submissions: laburns@uottawa.ca or scotto@ohio.edu With this collection of essays, we aim to examine metal music composition as a practice that comprises a complex gathering of formal musical, expressive, and technological parameters. Designed to address each of the building blocks of metal composition in the context of the evolution of metal subgenres over decades of development, we invite expert metal analysts to contribute a chapter on one of the specific elements: structures (including form, riff, harmony, rhythm, and meter); instruments (examining the role of the guitar, bass, kit, keyboards, additional instrumentation); voices (featuring a range of vocal techniques and styles); and productions (demonstrating the role of gear, capturing, processing, and mixing technologies). All of these elements are meant to be examined with the aim of building an understanding of metal music composition. ​ The editors will introduce the volume with a reflection on the aesthetics of metal music composition, establishing some fundamental principles that we understand to ground the meta- genre of metal music: heaviness and distortion; subgenre distinctions; liveness and staging practices; gendered expression; and lyrical messages and meanings. It is expected that these five guiding principles will emerge throughout the volume, in the context of the discussions of individual compositional elements. ​ Through the curation of this volume of essays, the editors hope to illuminate the story of metal history through its compositional elements. The experience of appreciating metal and understanding metal will guide the writing of these chapters. Authors will focus on a technique or topic and demonstrate with a few key examples how the technique or topic contributed to the evolution of metal composition. Authors are encouraged to adopt the following aims: to draw from a range of bands in order to represent the diversity of musicians and vocalists at a global level; to avoid a case study approach; to offer a reflection on metal composition across the meta- genre; and to demystify some of the conventional thinking that does not do justice to modern metal. ​ No existing studies of metal focus on musical composition in this complex meta-genre. While many monographs and collected editions on metal music are in circulation, they typically focus on sociological and cultural factors, leading to a refined understanding of the socio-cultural messages and meanings of metal subgenres and specific bands. While these issues are fundamental to metal music expression and the growing diversity of metal musicians, the field is missing a comprehensive music-analytic exploration of the “compositional” parameters of this significant music meta-genre. ​ In using the term “composition” we are referring to a range of musical content that emerges in metal music. Arising from collaborative, performative, and improvisational approaches to song- writing, metal songs are organized musical compositions that feature highly technical and specific formal designs, harmonic/melodic structures, rhythmic/metric structures, gestures/patterns, and instrumentation, and vocal techniques and effects. Since processing technologies and production values are significant elements in metal music composition, articles in this section will demonstrate how production techniques expand the metal compositional space beyond pitch and rhythm. We encourage contributions from a diverse set of authors, representing diversity of perspective as well as experience within their academic careers (from emergent to senior scholars). Contributions will be approximately 6500 words. ​ ​ Organization of the Volume: ​ Part I Aesthetics (to be written by Burns and Scotto) ​ Part II Structures (Riffs, heavy chord structures, harmonic design, rhythmic and metric structures, song forms) ​ Part III Instruments (guitar as compositional generator, kit as compositional foundation, the role of the bass, expanding instrumentation) ​ Part IV Voices (vocal techniques, vocal heaviness, harshness, and the extremes of vocal range, operatic vocals, extreme oppositions) ​ Part V Productions (gear, capture, production, mixing, producing)

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SCHEDULE Aspects of Latin American Progressive Rock and Prog Metal Context and Music To register, please contact: clazev2010@gmail.com Conference Schedule November 24, 2021 2 PM. GMT Session 1: Progressive rock in Mexico and Brazil Introduction to Brazilian Progressive Rock in the 1970s – Context and Discography ​ Cláudia Souza Nunes de Azevedo and Lauro Wanderley Meller ​ Abstract ​ Mexican Progressive Rock: Fantastic and social discourses ​ Leopoldo Flores Valenzuela ​ Abstract 3 PM. GMT Session 2: Music Analysis Reshaping Sound in the 1970s: Fusion and experimentation in Som Imaginário’s Matança do Porco ​ Maria Beatriz Cyrino Moreira ​ Abstract ​ Terreno Baldio: Progressive Rock and Spleen ​ Thomas Silveira Cavalcanti de Albuquerque ​ Abstract 4 PM. GMT Session 3: Prog Metal Latin American Progressive Metal and the Coloniality of Being ​ Nelson Varas-Díaz ​ Abstract ​ Viper’s Theatre of Fate: the unsung pioneers of prog metal ​ Ivison Poleto ​ Abstract

CONTACT PROGECT NETWORK progectnetwork@gmail.com Name Email Phone Address Subject Message Submit Thanks for submitting!

Aug 27-29, 2022 University of Oxford, England progect2022@gmail.com ​ ​ Call For Paper Program Committee Members Progect 2022 Committee Chair Sarah Hill Dr Sarah Hill is Associate Professor of Popular Music and Fellow of St. Peter’s College, Oxford. She has been Co-ordinating Editor of the journal Popular Music since 2012, and has published on issues of popular music historiography, popular music and politics, and popular music and cultural identity, particularly as it relates to the Welsh language. Her most recent monograph was San Francisco and the Long 60s (Bloomsbury, 2016); she is currently editing a collection of essays on one-hit wonders (Bloomsbury, forthcoming 2021) and, with Professor Allan Moore, the Oxford Handbook of Progressive Rock.

Web Resources Home Conferences & Events Call for Papers Symposia & Podcasts Resources Journals Contact Groups Members Forum More ​ L ouder Sound. News, features, reviews. https://www.loudersound.com/prog ​ Prog Archives. Discography and reviews. http://www.progarchives.com/ ProgGnosis. Progressive rock and fusion database. https://www.proggnosis.com/ The Prog Report. News, interviews, and features. https://progreport.com/ Progressive Ears: 21st Century Progressive Rock. Discussion forum. http://www.progressiveears.org/forum/ “Progressive Rock” on TV Tropes. Progressive rock in popular culture. https://tvtropes.org/pmwiki/pmwiki.php/Main/ProgressiveRock The Progressive Rock Bibliography. http://www.progbibliography.de/ Progressive Rock Journal. News, reviews, interviews. https://progrockjournal.com/ ProgRock.com. Podcasts and reviews. https://progrock.com/ Prog Rock Machine Radio Blog. https://progrockmachine.com/blog-2/ ProgRockMusic Reddit. Discussion forum. https://www.reddit.com/r/progrockmusic/ ProgSnobs: Progressive rock and metal blog. https://progsnobs.com/ TPA: The Progressive Aspect. News, reviews, and interviews about UK progressive rock. https://theprogressiveaspect.net/ Prog Sphere. News, reviews, and interviews. http://www.prog-sphere.com/ Sea of Tranquility: The Web Destination for Progressive Rock, Progressive Metal, and Jazz Fusion. Guides, blogs, reviews, interviews. https://www.seaoftranquility.org/

Journals Coming soon, Stay tuned!

Terreno Baldio: Progressive Rock and Spleen Thomas Silveira Cavalcanti de Albuquerque Thomas Silveira Cavalcanti de Albuquerque (Florianópolis, SC, 23.02.1991) holds a Master’s degree in music in the field of Creative Research from UDESC (University of the State of Santa Catarina) and is graduated (Licentiate) in Music. Known as Thomas Costello, he is a professional musician, guitarist, composer, teacher and researcher with emphasis in music theory and harmony, ensemble practice and live performances with rock and fusion bands. This presentation addresses the musical analysis of “Grite”, a song by the Brazilian progressive rock band Terreno Baldio, released in 1976. Looking for a link between European progressive rock and the progressive rock produced in Brazil in the 1970s, one finds it in the textual melancholy and musical complexity as means of expression of the romantic ideal that permeates this piece. Musical analysis and discourse analysis tools were used to approach the concept of Spleen, a melancholy and anti-conformist romantic ideal present in the Decadent literature of the nineteenth century, especially in Baudelaire's work. ​ ​ References Grite (track) – Terreno Baldio (álbum, 1976) – Terreno Baldio https://www.youtube.com/watch?v=wpQ6pz7vN0c Terreno Baldio (full album, 1976) – Terreno Baldio https://www.youtube.com/watch?v=8hMAHkRC1Ok ​ ALBUQUERQUE, Thomas Silveira Cavalcanti de. Terreno Baldio: Uma experiência progressiva brasileira. Masters Thesis. Program of Post-Graduation in Music, UDESC (Universidade do Estado de Santa Catarina), 2020. ​ ​

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Mexican progressive rock: fantastic and social discourses Leopoldo Flores Valenzuela Leopoldo Flores Valenzuela (Mexico City, Mexico, July 23, 1988). Master in Ethnomusicology by the Master's and Doctorate Music Program in the Universidad Nacional Autónoma de México (UNAM), Bachelor of Ethnomusicology of the Faculty of Music of the same university (Gabino Barreda medal, 2014). Winner of the 2021 Research Grant Program by the Latin Grammy Cultural Foundation. Researcher specialist in religious chants of indigenous Zapotec and peasant communities of the Valley of Oaxaca in its symbolic, political, social and anthropo-historical dimension. Author of the work Alabanceros: canto religioso en el Valle de Oaxaca. Politicidad, simbolismos y sublimación músico-ritual and various articles. Studious of the practice and repertoire for brass band and orchestra of the 19th and 20th centuries, both in Oaxaca and in the Colombian Caribbean. Co-author of Archivo Musical Santa Cruz de Mompox (AMSCM). De la banda militar a la orquesta tropical: Un siglo de música en la Costa Caribe colombiana (2021) and Metodología de catalogación de archivos musicales, herramientas y catálogo I y II in communities of Oaxaca. During 2014–2015, researcher in the project Ritual sonoro en catedral parroquias y pueblos: catalogación e investigación musical en Oaxaca at the Centro de Investigaciones y Estudios Superiores en Antropología Social (CIESAS, PACÍFICO SUR). In 2011, collaborator in the Etnografía de las Cultura Musicales en Oaxaca (ECMO) project for the Central Valley region in the same research center. Performer with professional studies in guitar and traditional genres of Mexican music. Mexican progressive rock must be understood as a "rare" expression in several senses, since it is an unknown field, hidden from the general population, branded, in its time, as marginal, "misunderstood" and even produced by and for "crazy”. There are really few researchers on the subject, which makes it a highly specialized field. Studies on popular music, ethnomusicology, history or other disciplines have scarcely addressed it, generally relegating journalists, music lovers and rockers who have written on the topic. However, this subgenre of Latin American rock can be understood from the social events that, together with the boom of the international scene, marked the course of music and its associated meanings in Mexico. This work is an initial exploration of the sounds of the pioneer groups of Mexican progressive rock, to try to link them with the reality of their time, in a context of social revolution, youth repression and marginalization of the genre. ​ ​ ​