explaining how foreign policy in the Progressive Era involved United States intervention into the affairs of its new colonies and foreign countries • Qualifying or modifying an argument by considering evidence that despite the achievements of Progressive reform, Progressives contributed to Progressivism, political and social-reform movement that brought major changes to American politics and government during the first two decades of the 20th century. It brought together diverse reformers with the common goal of making government more responsive to popular economic, social, and Nov 20, · The Founding, the Progressive Era, and the Rule of Law Wilson's first sustained work on administration came right at this time in an unpublished essay
The Progressive — A voice for peace, social justice, and the common good - blogger.com
Progressive rock often shortened to prog or prog rock is a form of rock music that evolved in the late s and early s as part of a "mostly British attempt to elevate rock music to new levels of artistic credibility. Progressive rock bands pushed "rock's technical and compositional boundaries" by going beyond the standard rock or popular verse-chorus-based song structures.
Additionally, the arrangements often incorporated elements drawn from classical, jazz, and world music. Instrumentals were common, while songs with lyrics were sometimes conceptual, abstract, the progressive era essay, or based in fantasy.
Progressive rock bands sometimes used "concept albums that made unified statements, the progressive era essay, usually telling an epic story or tackling a grand overarching theme. Progressive rock developed from late s psychedelic rock, as part of a wide-ranging tendency in rock music of this era to draw inspiration from ever more diverse influences.
The term was applied to the music of bands such as King Crimson, Yes, Genesis, Pink Floyd, Jethro Tull, Soft Machine and Emerson, Lake and Palmer. Progressive rock came into most widespread use around the mids. While progressive rock reached the peak of its popularity in the s and early s, neo-progressive bands have continued playing for faithful audiences in the subsequent decades.
Form: Progressive rock songs either avoid common popular music song structures of verse-chorus-bridge, or blur the formal distinctions by extending sections or inserting musical interludes, often with exaggerated dynamics to the progressive era essay contrast between sections. Classical forms are often inserted or substituted, sometimes yielding entire suites, the progressive era essay, building on the traditional medleys of earlier rock bands.
Progressive rock songs also often have extended instrumental passages, marrying the classical solo tradition with the improvisational traditions of jazz and psychedelic rock. All of these tend to add length to progressive rock songs, which may last longer than twenty minutes, the progressive era essay. Timbre instrumentation and tone color : Early progressive rock groups expanded the timbral palette of the then-traditional rock instrumentation of guitar, organ, bass, and drums by adding instruments more typical of jazz or folk music, such as flute, saxophone and violin, and more often than not used electronic keyboards, synthesizers, and electronic effects.
Some instruments � most notably the Moog synthesizer and the Mellotron � have become closely associated with the genre. Progressive rock generally tends to be freer in its rhythmic approach than other forms of rock music. The approach taken varies, depending on the band, but may range from regular beats to irregular or complex Time Signatures. Melody and Harmony: In prog rock, the blues inflections of mainstream rock are often supplanted by jazz and classical influences.
Melodies are more likely to be modal than based on the pentatonic scale, and are more likely to comprise longer, developing passages than short, catchy ones. Chords and chord progressions may be augmented with 6ths, 7ths, 9ths, and compound intervals; and the I-IV-V progression is much less common. Allusions to, or even direct quotes from, well-known classical themes are common.
Some bands have used atonal or dissonant harmonies, and a few have even worked with rudimentary serialism. Texture and the progressive era essay Ambient soundscapes and theatrical elements may be used to describe scenes, events or other aspects of the concept. For example, Leitmotif is used to represent the various characters in Genesis' "Harold the Barrel" and "Robbery, Assault and Battery.
Technology: To aid timbral exploration, progressive rock bands were often early adopters of new electronic musical instruments and technologies. The mellotron, particularly, was a signature sound of early progressive bands. Pink Floyd utilized an EMS Synthi A synthesizer equipped with a sequencer on their track "On the Run" from their album Dark Side of the Moon.
In the late s, Robert Fripp, of King Crimson, and Brian Eno developed an analog tape loops effect Frippertronics. In the s, Frank Zappa used the Synclavier for composing and recording, and King Crimson utilized MIDI-enabled guitars, a Chapman Stick, and electronic percussion, the progressive era essay.
Concept albums: Collections of songs unified by an elaborate, overarching theme or story are common to progressive rock. As songs by progressive rock acts tend to be quite long, such collections have frequently exceeded the maximum length of recorded media, resulting in packages that require multiple vinyl discs, cassettes, or compact discs in order to present a single album. Concepts have included the historical, fantastical, and metaphysical, and even, in the case of Jethro Tull's Thick as a Brick, poking fun at concept albums.
Peter Gabriel Genesis often wrote surreal stories to base his lyrics around, sometimes including theatrical elements with several characters, while Roger Waters Pink Floyd combined social criticism with personal struggles with greed, madness, and death.
Presentation: Album art and packaging is often an important part of the artistic concept. This trend can be seen to have begun with The Beatles' Sgt, the progressive era essay. Pepper's Lonely Hearts Club Band and played a major part in the marketing of progressive rock.
Some bands became as well known for the art direction of their albums as for their sound, with the "look" integrated into the progressive era essay band's overall musical identity.
This led to fame for particular artists and design studios, most notably Roger Dean for his work with Yes, and Hipgnosis for their work with Pink Floyd and several other progressive rock groups.
Stage theatrics: Beginning in the early s, some progressive rock bands began incorporating elaborate and sometimes flamboyant stage theatrics into their concerts. Genesis lead singer Peter Gabriel wore many different colourful and exotic costumes in one show and frequently acted out the lyrical narrative of the songs, and the band used lasers and giant mirrors synchronized with the music.
Yes incorporated futuristic stage sets designed by Roger Dean, including massive spaceship props and complex lighting. Yes also performed 'in-the-round', with the band on a round stage set up in the middle of the arena. Jethro Tull released rabbits on stage see here.
One of ELP's many stage antics include Emerson's "flying piano" at the California Jam concert, in which a Steinway grand piano would be spun from a hoist.
Pink Floyd used many stage effects, including crashing aeroplanes, a giant floating pig, massive projection screens, and, inan enormous mock brick wall for The Wall performances.
Rush incorporated lasers and film backdrops into their stage show. Frank Zappa and The Mothers of Invention used a giant giraffe prop and did improvisational comedy skits. Marillion's former lead singer Fish wore a jester costume inspired by the band's first album, Script for a Jester's Tear.
With many other types of The progressive era essay progressive music developing mostly in London, it may at first seem strange that the progressive era essay old pilgrimage centre and relatively quiet cathedral city of Canterbury, became the centre of this very English form of progressive music and jazz fusion.
Originally the Wilde Flowers, the progressive era essay, a teenage band of members living in and around Canterbury, playing a mix of pop, the progressive era essay, R'n'B and band members with a developing love of jazz, was formed in the 60's and became the seedling from which the Canterbury Scene grew.
Australian beatnik Daevid Allen during a long stop-over at Robert Wyatt's parent's home, a refuge for many left field artists, was to catalyse the evolution of the Wilde Flowers into the fledging Soft Machine and the development of some avant music during the English psychedelic and underground period. From tothe Wilde Flowers included most of the figures who later formed Canterbury's two best known bands, The Soft Machine Robert Wyatt, Kevin Ayers, Hugh Hopper and Caravan Pye Hastings, David Sinclair, Richard Sinclair, Richard Coughlan.
Canterbury was then to be the cradle for several of the more freewheeling British bands of the post-psychedelic era. While fans would suggest this is the home of an English musical quirkiness tempered with quite a bit of whimsy, within the Canterbury Scene's musical spectrum any similarities between Canterbury's major bands, e, the progressive era essay.
Most bands will be found employing a clever fusion of rock rhythms and jazz improvisation with intellectual song-writing and varying strengths of psychedelia - some would too include folk elements e. Spirogyraothers blues e. Carol Grimes and Delivery. In addition, a number of bands employed various elements from classical music, for instance those bands with Dave Stewart playing keyboards. Whilst there have been a handful of excellent and distinctly different guitarists to play with Canterbury bands e.
Andy Summers, Allan Holdsworth, John Etheridge, Steve Hillage, Phil Millerthe lead instrument of choice has been keyboards. One English peculiarity of Canterbury is what the late John Peel called the 'School of Anti-song' because of particular Wyatt, Ayers and Richard Sinclair's approaches to vocals and perhaps the whimsy.
More recently Richard Sinclair's vocal style has perhaps accurately been labelled as 'English jazz singing' by Jazzwise i, the progressive era essay. singing jazz with an English rather than the usual American accent. In addition Canterbury musicians have experimented as avant garde, free jazz players, e. instance Elton Dean, Lol Coxhill, Steve Miller. Caveman Hughscore's electric piano opening on the tune the progressive era essay Than Nothing', the progressive era essay, the vocals, the lyrics etc.
However, by the early 70's a series of the progressive era essay changes of bands' line-ups, Soft Machine went through about 30 and the subsequent formation of new bands, rapidly broadened Canterbury's range, with many newer musicians with only loose and in fact, no previous Canterbury connections. Early Soft Machine member Daevid Allen formed Gong in Paris.
Both Kevin Ayers and Robert Wyatt left the Softs because of musical developments they did not like, to begin their own solo careers. By the mid's, most the old and new Canterbury bands had progressed away from psychedelia, developing their distinct forms of progressive rock some embracing jazz fusion, many playing extended jams with now limited lyrical input e.
Hatfield and The Norths, National Health, Gilgamesh. Caravan became more folky. However, as the 70's progressed several Canterbury bands would lose most of the rock element from their music. Gong retained their psychedelic side longest, but with the departure of Daevid Allen and Steve Hillage in the mid 70's, the band evolved into the percussion-oriented, the progressive era essay rock group Gong, which eventually became the modern day Gongzilla.
Daevid Allen regained Gong's name in the 90's and through his solo work and with his University of Errors, is still evidently producing psychedelia. Steve Hillage's form of psychedelia evolved into the glissando rock of his own band and then into electronica, by the end of the 70's.
In particular, Hillage through his work as a successful record producer of new bands from the 80's, develop his form of electronica through other bands.
This music lost much of its complexity e. few riffs played over and over, rather the progressive era essay dozens per tune that previously had often typified prog, into a very popular form that is the antithesis of prog, i.
For instance, Gong's "You" got the remix treatment in the 90's - but then to reflect his range of activities, Hillage has also produced and played guitar for Algerian Rai singer, Rachid Taha for over 20 years.
Many of Britain's better known avant-garde and fusion musicians of the 70's and 80's - including Fred Frith Henry CowAllan Holdsworth Gong, Soft Machine, UK, Bruford and Peter Blegvad the progressive era essay were involved during their early careers playing in Canterbury bands. And still new musicians join the Canterbury Scene's ranks, Theo Travis being perhaps the most the progressive era essay recently Gong, The Soft Machine Legacy.
The Canterbury scene was to have a major influence on musicians in Europe, especially France e. Gong, Moving Gelatine Platesthe Netherlands Super Sister and Italy Daedalusand more belatedly in the USA Hughscore. Caravan reformed in the mid 90's, while ex-members of Soft Machine could be found in various avant jazz and straight jazz fusion groups, the progressive era essay, e.
Just Us, Soft Heap, Soft Works and most recently The Soft Machine Legacy. From the Canterbury Scene, RIO it its various forms has developed. However, because of their strong Canterbury affliations are listed under "Canterbury Scene" in Prog Archives. Compositions, however, still exhibit a high degree of sophistication, the progressive era essay, sometimes outright complexity, and the musicianship and virtuosity is often on a par with established Prog acts.
Much like their kin in the established prog sub-genres, these groups will incorporate many major parts of what defines prog rock: the fusing of rock with the structures and discipline of more traditional musics, the use of syntheisizers and new technologies, the progressive era essay, intelligent thematics, and the expansion of the form. The defining characteristics of Crossover Prog are a pop music influence that is largely vacant in typical prog rock.
Songs tend toward shorter, more concise presentations though still reach beyond the typical verse, bridge, chorus pattern. The harmonic, melodic, and rhythmic structures may be more easily digested in Crossover while not losing the musical integrity that a prog listener expects. Whereas Prog Related bands are generally commercial groups with certain prog elements or players that were involved in prog acts, Crossover Prog artists are predominantly progressive with elements of popular music.
The term 'eclectic' in the context of progressive rock describes a summation of elements from various musical sources, and the influences and career paths of bands that take from a wide range of genres or styles.
While progressive music can be, in a larger sense, eclectic, the 'Eclectic Prog' term is specially meant to reference bands that trespass the boundaries of established Progressive Rock genres or that blend many influences. Eclectic Prog combines hybrids of style and diversity of theme, promoting many elements from different sources.
The Eclectic category recognizes bands that evolved markedly over their career in a progressive, evolutionary wayor have a plural style without a clear referential core. The basic features lie within the music's variety, rich the progressive era essay, art tendencies and classic prog rock elements, the progressive era essay.
Unit 3: Progressive Era Essay
, time: 12:55Progressive Rock - Definition, Genres & Articles
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