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Proto-prog
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<h2 id="definition">Definition</h2> <p class="note">See also: <a href="/facts/Progressive_music/NHY3DPem">Progressive music § Pop and rock</a></p> <p>Although a unidirectional English "progressive" style emerged in the late 1960s, by 1967, progressive rock had come to constitute a diversity of loosely associated style codes.<a class="footnote-ref" id="fnref:7" href="#fn:7"><sup>7</sup></a> When the "progressive" label arrived, the music was dubbed "<a href="/facts/Progressive_pop/z7JLsask">progressive pop</a>" before it was called "progressive rock",<a class="footnote-ref" id="fnref:8" href="#fn:8"><sup>8</sup></a><a class="footnote-ref" id="fnref:9" href="#fn:9"><sup>9</sup></a> with the term "progressive" referring to the wide range of attempts to break with standard pop music formula.<a class="footnote-ref" id="fnref:10" href="#fn:10"><sup>10</sup></a> </p><p>Music writer Doyle Greene believes that the "proto-prog" label can stretch to "the later <a href="/facts/Beatles/2syHWLcM">Beatles</a> and <a href="/facts/Frank_Zappa/S9jReVdI">Frank Zappa</a>", <a href="/facts/Pink_Floyd/a3U8PyeV">Pink Floyd</a>, <a href="/facts/Soft_Machine/I8t5HRe1">Soft Machine</a>, and <a href="/facts/United_States_of_America_(band)/0uFY2pfp">United States of America</a>.<a class="footnote-ref" id="fnref:11" href="#fn:11"><sup>11</sup></a> Edward Macan, an author of progressive rock books, says that psychedelic bands like <a href="/facts/The_Nice/M7VXWWu3">the Nice</a>, <a href="/facts/The_Moody_Blues/JBopxTMv">the Moody Blues</a>, and Pink Floyd represent a proto-progressive style and the first wave of English <a href="/facts/Progressive_rock/79MRoIU7">progressive rock</a>.<a class="footnote-ref" id="fnref:12" href="#fn:12"><sup>12</sup></a> Conversely, academics Paul Hegarty and Martin Halliwell identify the Beatles, <a href="/facts/The_Beach_Boys/6CdaMJwW">the Beach Boys</a>, <a href="/facts/The_Doors/gAfgHY5f">the Doors</a>, <a href="/facts/The_Pretty_Things/wPKrxkVX">the Pretty Things</a>, <a href="/facts/The_Zombies/9jMKeJlI">the Zombies</a>, <a href="/facts/The_Byrds/SIswGYPk">the Byrds</a>, <a href="/facts/The_Grateful_Dead/PjyyRGQt">the Grateful Dead</a> and Pink Floyd "not merely as precursors of prog but as essential developments of progressiveness in its early days".<a class="footnote-ref" id="fnref:13" href="#fn:13"><sup>13</sup></a> </p><p>At the time, critics generally assumed <a href="/facts/King_Crimson/3HnVf2eP">King Crimson</a>'s album <i><a href="/facts/In_the_Court_of_the_Crimson_King/pyG3yP1u">In the Court of the Crimson King</a></i> (1969) to be the logical extension and development of late 1960s proto-progressive rock exemplified by the Moody Blues, <a href="/facts/Procol_Harum/7tsQlEC4">Procol Harum</a>, Pink Floyd, and the Beatles.<a class="footnote-ref" id="fnref:14" href="#fn:14"><sup>14</sup></a> According to Macan, the album may be the most influential to progressive rock for crystallizing the music of earlier "proto-progressive bands ... into a distinctive, immediately recognizable style".<a class="footnote-ref" id="fnref:15" href="#fn:15"><sup>15</sup></a> He distinguishes 1970s "classic" prog from late 1960s proto-prog by the conscious rejection of psychedelic rock elements, which proto-progressive bands continued to support.<a class="footnote-ref" id="fnref:16" href="#fn:16"><sup>16</sup></a> </p> <p>Notes </p> <p>Citations </p> <p>Bibliography </p> <ul><li>Cotner, John S. (2000). <a href="https://books.google.com/books?id=EzWkTNxqmF0C&pg=PA101">"Music Theory and Progressive Rock Style Analysis"</a>. <a href="https://archive.org/details/reflectionsoname0000unse_w0t9"><i>Reflections on American Music: The Twentieth Century and the New Millennium</i></a>. Pendragon Press. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-1-57647-070-1.</li> <li>Greene, Doyle (2016). <a href="https://books.google.com/books?id=ELeaCwAAQBAJ"><i>Rock, Counterculture and the Avant-Garde, 1966–1970: How the Beatles, Frank Zappa and the Velvet Underground Defined an Era</i></a>. McFarland. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-1-4766-2403-7.</li> <li>Haworth, John Trevor; Smith, Michael A. (1975). <a href="https://books.google.com/books?id=7IZqAAAAMAAJ"><i>Work and Leisure: An Interdisciplinary Study in Theory, Education and Planning</i></a>. Lepus Books. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-0-86019-009-7.</li> <li><a href="/facts/Paul_Hegarty_(musician)/IqJ5BBDr">Hegarty, Paul</a>; Halliwell, Martin (2011), <a href="https://books.google.com/books?id=taA2AqdCAJ0C"><i>Beyond and Before: Progressive Rock Since the 1960s</i></a>, New York: The Continuum International Publishing Group, <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-0-8264-2332-0</li> <li>Holm-Hudson, Kevin, ed. (2013). <a href="https://books.google.com/books?id=JQCPAQAAQBAJ&pg=PA275"><i>Progressive Rock Reconsidered</i></a>. Routledge. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-1-135-71022-4.</li> <li>Macan, Edward (1997). <a href="https://archive.org/details/rockingclassicse0000maca"><i>Rocking the Classics: English Progressive Rock and the Counterculture</i></a>. Oxford University Press. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-0-19-509887-7.</li> <li>Macan, Edward (2005). <a href="https://books.google.com/books?id=tXoIAQAAMAAJ"><i>Endless Enigma: A Musical Biography of Emerson, Lake and Palmer</i></a>. Open Court. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-0-8126-9596-0.</li> <li>Moore, Allan (2004). <a href="https://books.google.com/books?id=DMWoAwAAQBAJ&pg=PA22"><i>Jethro Tull's Aqualung</i></a>. Bloomsbury Publishing. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-1-4411-1315-3.</li></ul> <h2 id="references">References</h2> <ol> <li id="fn:1"><p>Macan 2005, p. xxiii. - Macan, Edward (2005). Endless Enigma: A Musical Biography of Emerson, Lake and Palmer. Open Court. ISBN 978-0-8126-9596-0. <a href="https://books.google.com/books?id=tXoIAQAAMAAJ" target="_blank">https://books.google.com/books?id=tXoIAQAAMAAJ</a> <a href="#fnref:1" class="footnote-back-ref">↩</a></p></li> <li id="fn:2"><p>Holm-Hudson 2013, p. 84. - Holm-Hudson, Kevin, ed. (2013). Progressive Rock Reconsidered. Routledge. ISBN 978-1-135-71022-4. <a href="https://books.google.com/books?id=JQCPAQAAQBAJ&pg=PA275" target="_blank">https://books.google.com/books?id=JQCPAQAAQBAJ&pg=PA275</a> <a href="#fnref:2" class="footnote-back-ref">↩</a></p></li> <li id="fn:3"><p>Hegarty & Halliwell 2011, p. 11. - Hegarty, Paul; Halliwell, Martin (2011), Beyond and Before: Progressive Rock Since the 1960s, New York: The Continuum International Publishing Group, ISBN 978-0-8264-2332-0 <a href="https://books.google.com/books?id=taA2AqdCAJ0C" target="_blank">https://books.google.com/books?id=taA2AqdCAJ0C</a> <a href="#fnref:3" class="footnote-back-ref">↩</a></p></li> <li id="fn:4"><p>Moore 2004, p. 22. - Moore, Allan (2004). Jethro Tull's Aqualung. Bloomsbury Publishing. ISBN 978-1-4411-1315-3. <a href="https://books.google.com/books?id=DMWoAwAAQBAJ&pg=PA22" target="_blank">https://books.google.com/books?id=DMWoAwAAQBAJ&pg=PA22</a> <a href="#fnref:4" class="footnote-back-ref">↩</a></p></li> <li id="fn:5"><p>Greene 2016, p. 182. - Greene, Doyle (2016). Rock, Counterculture and the Avant-Garde, 1966–1970: How the Beatles, Frank Zappa and the Velvet Underground Defined an Era. McFarland. ISBN 978-1-4766-2403-7. <a href="https://books.google.com/books?id=ELeaCwAAQBAJ" target="_blank">https://books.google.com/books?id=ELeaCwAAQBAJ</a> <a href="#fnref:5" class="footnote-back-ref">↩</a></p></li> <li id="fn:6"><p>Hegarty & Halliwell 2011, p. 11. - Hegarty, Paul; Halliwell, Martin (2011), Beyond and Before: Progressive Rock Since the 1960s, New York: The Continuum International Publishing Group, ISBN 978-0-8264-2332-0 <a href="https://books.google.com/books?id=taA2AqdCAJ0C" target="_blank">https://books.google.com/books?id=taA2AqdCAJ0C</a> <a href="#fnref:6" class="footnote-back-ref">↩</a></p></li> <li id="fn:7"><p>Cotner 2000, p. 90. - Cotner, John S. (2000). "Music Theory and Progressive Rock Style Analysis". Reflections on American Music: The Twentieth Century and the New Millennium. Pendragon Press. ISBN 978-1-57647-070-1. <a href="https://books.google.com/books?id=EzWkTNxqmF0C&pg=PA101" target="_blank">https://books.google.com/books?id=EzWkTNxqmF0C&pg=PA101</a> <a href="#fnref:7" class="footnote-back-ref">↩</a></p></li> <li id="fn:8"><p>Moore 2004, p. 22. - Moore, Allan (2004). Jethro Tull's Aqualung. Bloomsbury Publishing. ISBN 978-1-4411-1315-3. <a href="https://books.google.com/books?id=DMWoAwAAQBAJ&pg=PA22" target="_blank">https://books.google.com/books?id=DMWoAwAAQBAJ&pg=PA22</a> <a href="#fnref:8" class="footnote-back-ref">↩</a></p></li> <li id="fn:9"><p>From about 1967, "pop music" was increasingly used in opposition to the term "rock music", a division that gave generic significance to both terms.[7] <a href="#fnref:9" class="footnote-back-ref">↩</a></p></li> <li id="fn:10"><p>Haworth & Smith 1975, p. 126. - Haworth, John Trevor; Smith, Michael A. (1975). Work and Leisure: An Interdisciplinary Study in Theory, Education and Planning. Lepus Books. ISBN 978-0-86019-009-7. <a href="https://books.google.com/books?id=7IZqAAAAMAAJ" target="_blank">https://books.google.com/books?id=7IZqAAAAMAAJ</a> <a href="#fnref:10" class="footnote-back-ref">↩</a></p></li> <li id="fn:11"><p>Greene 2016, p. 182. - Greene, Doyle (2016). Rock, Counterculture and the Avant-Garde, 1966–1970: How the Beatles, Frank Zappa and the Velvet Underground Defined an Era. McFarland. ISBN 978-1-4766-2403-7. <a href="https://books.google.com/books?id=ELeaCwAAQBAJ" target="_blank">https://books.google.com/books?id=ELeaCwAAQBAJ</a> <a href="#fnref:11" class="footnote-back-ref">↩</a></p></li> <li id="fn:12"><p>Holm-Hudson 2013, p. 84. - Holm-Hudson, Kevin, ed. (2013). Progressive Rock Reconsidered. Routledge. ISBN 978-1-135-71022-4. <a href="https://books.google.com/books?id=JQCPAQAAQBAJ&pg=PA275" target="_blank">https://books.google.com/books?id=JQCPAQAAQBAJ&pg=PA275</a> <a href="#fnref:12" class="footnote-back-ref">↩</a></p></li> <li id="fn:13"><p>Hegarty & Halliwell 2011, p. 11. - Hegarty, Paul; Halliwell, Martin (2011), Beyond and Before: Progressive Rock Since the 1960s, New York: The Continuum International Publishing Group, ISBN 978-0-8264-2332-0 <a href="https://books.google.com/books?id=taA2AqdCAJ0C" target="_blank">https://books.google.com/books?id=taA2AqdCAJ0C</a> <a href="#fnref:13" class="footnote-back-ref">↩</a></p></li> <li id="fn:14"><p>Macan 2005, p. 75. - Macan, Edward (2005). Endless Enigma: A Musical Biography of Emerson, Lake and Palmer. Open Court. ISBN 978-0-8126-9596-0. <a href="https://books.google.com/books?id=tXoIAQAAMAAJ" target="_blank">https://books.google.com/books?id=tXoIAQAAMAAJ</a> <a href="#fnref:14" class="footnote-back-ref">↩</a></p></li> <li id="fn:15"><p>Macan 1997, p. 23. - Macan, Edward (1997). Rocking the Classics: English Progressive Rock and the Counterculture. Oxford University Press. ISBN 978-0-19-509887-7. <a href="https://archive.org/details/rockingclassicse0000maca" target="_blank">https://archive.org/details/rockingclassicse0000maca</a> <a href="#fnref:15" class="footnote-back-ref">↩</a></p></li> <li id="fn:16"><p>Macan 2005, p. xxiii. - Macan, Edward (2005). Endless Enigma: A Musical Biography of Emerson, Lake and Palmer. Open Court. ISBN 978-0-8126-9596-0. <a href="https://books.google.com/books?id=tXoIAQAAMAAJ" target="_blank">https://books.google.com/books?id=tXoIAQAAMAAJ</a> <a href="#fnref:16" class="footnote-back-ref">↩</a></p></li> </ol>