Musical ambition, cultural accreditation and the nasty side of progressive rock
Identifieur interne : 000286 ( Main/Exploration ); précédent : 000285; suivant : 000287Musical ambition, cultural accreditation and the nasty side of progressive rock
Auteurs : Jay Keister [États-Unis] ; Jeremy L. Smith [États-Unis]Source :
- Popular Music [ 0261-1430 ] ; 2008.
Abstract
Progressive rock of the early 1970s has been demonised as a nadir in the history of rock primarily because of the ambitions of progressive rock musicians. Critics have interpreted these ambitions as attempts to elevate rock music to the level of high art in order to gain cultural accreditation from an unspecified cultural elite. This interpretation is further compounded by the common notion that progressive rock’s subject matter is dominated more by individualistic quests for spirituality than by socio-political critique, resulting in a stereotype of progressive rock as apolitical, pretentious and conventionally upwardly mobile. Critics who have propagated this stereotype – including some musicologists – have misunderstood the countercultural politics of young musicians during this era and have overlooked the highly developed musical poetics of progressive rock that were in fact highly politicised. This paper examines four of the leading progressive rock bands of the early 1970s – Emerson, Lake and Palmer, King Crimson, Genesis and Yes – and reveals the nasty side of progressive rock: a scathing criticism of rampant militarism and social conformity that runs counter to the prevailing narrative in which the genre is dismissed as an escapist fantasy with an elitist agenda.
Url:
DOI: 10.1017/S0261143008102227
Affiliations:
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Smith</name><affiliation wicri:level="1"><country wicri:rule="url">États-Unis</country><wicri:regionArea>Department of Music, University of Colorado, Boulder, CO, USA E-mail: jay.keister@colorado.edu</wicri:regionArea><wicri:noRegion>USA E-mail: jay.keister@colorado.edu</wicri:noRegion></affiliation><affiliation wicri:level="1"><country wicri:rule="url">États-Unis</country></affiliation></author></analytic><monogr></monogr><series><title level="j">Popular Music</title><title level="j" type="abbrev">Pop. Mus.</title><idno type="ISSN">0261-1430</idno><idno type="eISSN">1474-0095</idno><imprint><publisher>Cambridge University Press</publisher><pubPlace>Cambridge, UK</pubPlace><date type="published" when="2008">2008</date><biblScope unit="volume">27</biblScope><biblScope unit="issue">3</biblScope><biblScope unit="page" from="433">433</biblScope><biblScope unit="page" to="455">455</biblScope></imprint><idno type="ISSN">0261-1430</idno></series></biblStruct></sourceDesc><seriesStmt><idno type="ISSN">0261-1430</idno></seriesStmt></fileDesc><profileDesc><textClass></textClass><langUsage><language ident="en">en</language></langUsage></profileDesc></teiHeader><front><div type="abstract">Progressive rock of the early 1970s has been demonised as a nadir in the history of rock primarily because of the ambitions of progressive rock musicians. Critics have interpreted these ambitions as attempts to elevate rock music to the level of high art in order to gain cultural accreditation from an unspecified cultural elite. This interpretation is further compounded by the common notion that progressive rock’s subject matter is dominated more by individualistic quests for spirituality than by socio-political critique, resulting in a stereotype of progressive rock as apolitical, pretentious and conventionally upwardly mobile. Critics who have propagated this stereotype – including some musicologists – have misunderstood the countercultural politics of young musicians during this era and have overlooked the highly developed musical poetics of progressive rock that were in fact highly politicised. This paper examines four of the leading progressive rock bands of the early 1970s – Emerson, Lake and Palmer, King Crimson, Genesis and Yes – and reveals the nasty side of progressive rock: a scathing criticism of rampant militarism and social conformity that runs counter to the prevailing narrative in which the genre is dismissed as an escapist fantasy with an elitist agenda.</div></front></TEI><affiliations><list><country><li>États-Unis</li></country></list><tree><country name="États-Unis"><noRegion><name sortKey="Keister, Jay" sort="Keister, Jay" uniqKey="Keister J" first="Jay" last="Keister">Jay Keister</name></noRegion><name sortKey="Keister, Jay" sort="Keister, Jay" uniqKey="Keister J" first="Jay" last="Keister">Jay Keister</name><name sortKey="Smith, Jeremy L" sort="Smith, Jeremy L" uniqKey="Smith J" first="Jeremy L." last="Smith">Jeremy L. Smith</name><name sortKey="Smith, Jeremy L" sort="Smith, Jeremy L" uniqKey="Smith J" first="Jeremy L." last="Smith">Jeremy L. 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