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Print Sources Home Conferences & Events Call for Papers Symposia & Podcasts Resources Journals Contact Groups Members Forum More 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. ​ 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. ​ 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. ​ Anderton, Chris. 2010. “A Many-Headed Beast: Progressive Rock as a European Meta Genre.” Popular Music, 29/3: 417-436. ​ 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. ​ Anderton, Chris. 2020. “Introduction to the Special Issue on Progressive Rock.” Rock Music Studies, 7/1: 1-7. ​ 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. ​ 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. ​ 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. ​ 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. ​ Barnes, Mike. 2020. A New Day Yesterday: UK Progressive: Rock & the 1970s. Omnibus Press. ​ 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. ​ Barotto, Paolo. 1998. The Return of Italian Pop. Vinyl Magic Books. ​ Bennett, Andy. 2004. “New tales from Canterbury: the Making of a Virtual Scene.” In Music Scenes: Local, Translocal, and Virtual, eds. Andy. Bennett and Richard Peterson, 205–20. Vanderbilt University Press. ​ 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. ​ 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. ​ 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. ​ 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. ​ Cohen, Gilad. 2015. “Expansive Form in Pink Floyd’s “Dogs.” Music Theory Online, 21/2. 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. Cotner, John. 2001. “Archetypes of Progressiveness in Rock, ca. 1966-1973.” PhD dissertation, University of Wisconsin. 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. ​ Covach, John. 2000. “Echolyn and American Progressive Rock.” Contemporary Music Review, 18/4: 13-61. ​ 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. ​ 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. ​ 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. ​ Cutler, Chris. 1991. File Under Popular: Theoretical and Critical Writings on Music. Autonomedia. ​ 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. ​ 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. ​ 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. ​ 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. ​ 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. ​ 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. ​ 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. ​ 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. ​ 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. ​ 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. ​ 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. ​ 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. ​ 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. ​ 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. ​ Lucky, Jerry. 2000. 20th Century Rock and Roll – Progressive Rock. Collector’s Guild Publishing. ​ Lundberg, Mattias. 2014. “‘Let It Be Without Pretense’: Canon, Fugue, and Imitation in Progressive Rock 1968-1979.” Music Theory Online, 20/3: 36-51. ​ 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. ​ Martin, Bill. 1996. Music of Yes: Structure and Vision in Progressive Rock. Open Court Press. ​ Martin, Bill. 1998. Listening to the Future: the Time of Progressive Rock. Open Court Press. ​ Martin, Bill. 2002. Avant Rock. Experimental Music from the Beatles to Bjork. Open Court Press. ​ McDonald, Christopher. 2009. Rush, Rock Music, and the Middle Class. Indiana University Press. ​ 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. ​ 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. ​ Moore, Allan, Martin Remi. 2018. The Primary Text: Developing a Musicology of Rock. 3rd ed. Routledge Press. ​ Moore, Allan. 2004. Aqualung. Continuum. ​ 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. ​ 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. ​ Moore, Allan. 2012. Song Means: Analysing and Interpreting Recorded Popular Song. Ashgate Press. ​ Moore, Allan. 2016. “Shreds of Memory in Post-Millennial Prog.” In Reflexionen zum Progressive Rock, eds. Martin Lucke and Klaus Naumann, 116-137. Allitera. ​ 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. ​ 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. 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. ​ 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. ​ 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. ​ 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. 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Weinstein, Deena. 2002. “Progressive Rock as Text: The Lyrics of Roger Waters.” In Progressive Rock Reconsidered, ed. Kevin Holm-Hudson, 91-110. Routledge Press. ​ Welch, Chris. 2007. Close to the Edge: The Story of Yes. updated ed. Omnibus Press. ​ Whiteley, Sheila. 1992. The Space Between the Notes: Rock and the Counter-culture. Routledge Press. ​ 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. Zak, Albin. 2008. “Rock and Roll Rhapsody: Pop Epics of the 1970s.” In Expression in Pop-Rock Music. 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Prgect 2 Abstracts May 25-27, 2016

Prgect 3 Abstracts May 23-25, 2018

Symposia & Podcasts Latest Stories Interview with Paul Northfield May 19th, 2021 ​ Watch the Video Aspects of Latin American Progressive Rock and Prog Metal – Context and Music Nov 24, 2021 ​ Info & Registration Coming soon!

Viper's Theatre of Fate: the unsung pioneers of Prog Metal Ivison Poleto Ivison Poleto holds a PhD degree in Social History. He is a History teacher and independent researcher. He has written more than a thousand reviews of metal releases for the site Metal Addicts (https://metaladdicts.com/). His interests are the formation of extreme metal and the history of Brazilian heavy metal. Deena Weinstein (Weinstein, 2000) posited that “[h]eavy metal has many histories. There is no consensus on its precursors, basic influences, first full-ledged songs and bands, or developmental stages. There is even some debate about its name.” In addition, she noted, inspired on Ronald Byrnise, that the genre had its moments of formation, crystallization, and decay. However, instead of a general decay, heavy metal had its moment of splitting into other subgenres of which progressive metal is one. ​ Quoting E. P. Thompson’s explanation on how he reached his understanding on the making of the English working class (Thompson, 1980: p. 9) “[m]aking, because it is a study in an active process, which owes as much to agency as to conditioning. The working class did not rise like the sun at an appointed time. It was present at its own making.” Neither did extreme metal. The making of it was a process that took some time and involved many forces. Hence, it was not the product of a day or a name that was brought up in the blink of an eye (op. cit., p. 194), not “the spontaneous generation of the” world of metal music. ​ It is my understanding that the historical study of popular music may benefit from the use of the historical materialism to understand the formation and development of genres inspired by Engels’s dialectal materialism “of the absolute immutability of nature” (Engels, 1976, p. 26). The proposal of this presentation reminded me of Viper’s biography written by Hervé SK Guélgano contained in the booklet of the re-release of the 1989 album Theatre of Fate [1997, Paradoxx Music in a 2-in-1 edition with 1987’s Soldiers of Sunrise] which I bought years ago. Reading it, I had an idea for the first time of the international relevance of the band and its Prog Metal pioneering. ​ This proposal works with two main ideas. The first one is that Theatre of Fate was the product of singer/composer/multi-instrumentalist Andre Mattos’ ingenuity combining the interest in concert music with Viper’s power metal, hugely influenced by bands as Iron Maiden and Helloween. The second idea is that, along with Queensrÿche’s early 1980s releases, the album was one of the pioneers of this metal subgenre. Supporting the first idea is the fact that Mattos officially left the band to study Music and subsequently follow a career in concert music. He later joined Angra, a band with which he continued the ideas he brought up to life while in Viper. Perhaps, an elegant way of seeing it would be to consider Theatre of Fate as proto-prog metal whose musical ideas would be developed later by André Matos with Angra. The mix between heavy metal and concert music was not exactly new. However, Viper’s contribution, unlike their peers, was to convey lots of the speed and the punch of their power metal, unlike Queensrÿche whose contribution took a different path not adding classical music elements to their fine technique and musicianship. A path that bands such as Rhapsody, later Rhapsody of Fire, among others, would follow and credit Viper as the main influence. ​ ​ References ​ Viper -Theatre of Fate https://www.youtube.com/watch?v=q0cAbxkMM7s&t=4s ​ Viper - Soldiers of Sunrise https://www.youtube.com/watch?v=x5_poxTr6RE&t=5s ​ Angra - Angels Cry https://www.youtube.com/watch?v=3vVsIVVIHks&t=7s ​ Queenrÿche - The Warning https://www.youtube.com/watch?v=HCygGQOQ_IA&t=8s ​ WEINSTEIN, Deena. Heavy Metal: The Music and its Culture. Rev. ed. New York: Da Capo Press, 2000 ENGELS, Friedrich. Dialects of Nature. Moscow: Progress Publishers, 1976. BYRNSIDE, Ronald. The Formation of a Music Style: Early Rock. In HAMM, Charles, NETTL, Bruno and BYRNSIDE, Ronald (eds.), Contemporary Music Cultures. Englewood Cliffs, N.J.: Prentice Hall, 1975. THOMPSON, E. P. The Making of the English Working Class. New York: Vintage Books, 1980. ​

Reshaping sound in the 1970s: fusion and experimentation in Som Imaginário’s album Matança do Porco Maria Beatriz Cyrino Moreira Maria Beatriz Cyrino Moreira is assistant professor at UNILA (Federal University of Latin American Integration). She holds a bachelor’s degree in piano performance and popular music studies from UNICAMP (State University of Campinas, São Paulo). Her primary research area is popular music studies focusing on Brazilian’s popular music of the 1970s with special attention to Som Imaginário (Masters’s Thesis) and the multi-instrumentalist composer Egberto Gismonti (Doctoral Dissertation). She has recently finished a post-doctoral research period at Sorbonne University in Paris during which she studied Audiotactile Musicology with particular interest in the relationship between popular and classical musics under this approach. She currently works on the research of Latin American music for piano, especially pieces written by women composers. She is also a member of the Latin American branch of the International Association of Musicology (ARLAC-IMS). Matança do porco is Som Imaginário’s third album, released in 1973 by Odeon (an EMI subsidiary). The group had previously worked with Brazilian composer and singer Milton Nascimento, reshaping his sound and image, pursuing the new cultural trends of 1960s. Matança do porco is an entirely instrumental album with aesthetic unit due to the vignettes, short tracks that are interspersed with longer-lasting pieces. In them, musical themes present on the album are recreated through varied instrumental combinations. Since 1968, Brazilian popular music had gone through a new phase of “modernization” that called into question the models derived from bossa nova and the so-called MPB [Música Popular Brasileira – Brazilian Popular Music]. The album is the result of this context, arranged according to the material and technological possibilities within the Brazilian phonographic landscape of the early 1970s. Elements of rock and pop music were incorporated along with sambajazz, bolero, progressive rock, jazz fusion and symphonic music, resulting in hybrid musical pieces. The album has become a reference for other Brazilian groups and artists in the following decades. This presentation aims at introducing the group, its formation and its specific musical aspects, especially those that make Matança do porco associated with Brazilian progressive rock. ​ ​ References ​ Matança do Porco https://www.youtube.com/watch?v=f-Zh-af1FIs&t=14s ​ MOREIRA, Maria Beatriz Cyrino. Fusões de gêneros e estilos na produção musical da banda Som Imaginário. 2011. 266 p. Master’s Thesis – UNICAMP - Universidade Estadual de Campinas, Instituto de Artes, Campinas, SP.

Latin American Progressive Metal and the Coloniality of Being Nelson Varas-Díaz Dr. Nelson Varas-Díaz is a Professor of social-community psychology at Florida International University’s Department of Global and Sociocultural Studies. His work related to metal music addresses issues of community formation, linkages between culture and music, and metal music as a decolonial strategy in Latin America. His work has been published in multiple journals, including Metal Music Studies, International Journal of Community Music, and the Journal of Community Psychology, among others. He coedited the books “Heavy Metal Music and the Communal Experience” (2016), “Heavy Metal in Argentina: In Black We Are Seen” (2020), and “Heavy Metal in Latin America: Perspectives from the Distorted South” (2021). He authored the book “Decolonial Metal Music in Latin America” which was published by Intellect in 2021. He produced and/or directed the award-winning documentaries “The Distorted Island: Heavy Metal and Community in Puerto Rico,” “The Metal Islands: Culture, History and Politics in Caribbean Metal Music,” “Songs of Injustice: Heavy Metal Music in Latin America,” and “Acts of Resistance: Heavy Metal Music in Latin America. His films have received 75 sets of laurels from international film festivals. He is one of the editors of the Metal Music Studies journal published by Intellect. He currently directs the “Heavy Metal Studies – Latin America” group which researches metal in the Caribbean, Central and South America. Progressive metal music is simultaneously hard to define and easy to identify. Although mostly known for its odd time signatures, complex and imaginative lyrical content, extensive song duration, and pushing the boundaries of what some consider normalcy in music, clear definitions of this musical genre seem elusive in the published literature. As if to add to this complexity, research on progressive metal music should address how this growing list of definitory characteristics can be expanded when the musical genre is consumed, transformed, and produces in regions of the Global South. In this presentation I will discuss how progressive metal music in Latin America has used the complexities embedded in this musical genre (related to instrumentation, song structure and lyrical content) to challenge coloniality, or the ongoing legacy of colonialism in the region. Using as examples progressive metal bands from Chile, Mexico and Puerto Rico I will argue that progressive metal in the region allows musicians and listeners to challenge what Nelson Maldonado Torres has termed the coloniality of being, and therefore affirm their humanity through everyday lived experiences while facing oppressive practices that aim to deny it from them. I will focus on three important dimensions of progressive metal music (i.e. emotion, song structure, and narrative) as ways of challenging colonial worldviews that have aimed to deprive Latin Americans of their place in the world. Finally, I will explore how these considerations should transform the manner in which progressive metal music is defined and conceptualized.

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