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Norberto Cambiasso
Editor and director of the magazine Esculpiendo Milagros, a pioneer in the Spanish language in the dissemination of experimental music and European rock. Teaches music, communication, aesthetics and cultural criticism at the University of Buenos Aires, the National University of Quilmes and the Conservatory of Music Manuel de Falla. He is co-author with Alfredo Grieco, the book “Días Felices: los usos del orden de la Escuela de Chicago al Funcionalismo”; coeditor, with Julián Ruesga, the book “Más allá del rock”; and was co-director, with Daniel Varela, the proyectoArchivo on Argentinas Experimental Music for the Cultural Center of Spain in Buenos Aires (CCEB). He has written numerous articles on various contemporary -art, theater, social theory and political publications internationally for Argentina, Peru, Spain and the United States. However, his main interest is the relationship between art, music and sociopolitical contexts.
Description
The tendency to reduce the Progressive Rock to a variant Synphonic, which champions diehard enthusiasts and detractors alike share promotes unconnected with the subtleties of history and restricted to a few derivatives formal schemes of the classical tradition of classical music biased view do not do justice to the complex metamorphosis that characterized the British music scene of the early seventies. Hatching, swing, apotheosis and rattle Progressive Music belong to a period much less luminous and far more recessive than those sixties so revered by many as the golden age of Rock. A different time averaging the next decade will plunge Europe into a perplexity acquire an almost apocalyptic inflection. This first volume of the analysis of a pair of seminal albums that appeared in the summer of 1967: "Sgt. Pepper's Lonely Hearts Club Band "by The Beatles and" The Piper at the Gates of Dawn "by Pink Floyd. The multiple transformations that Progressive Rock until its decline and loss of influence begins with the transition from Psychedelia to Prog to 1967 & 1968. From the next year underground sound more urgent and thin stems, away from the optimism of that summer of love, laying the foundations of the original prog. Dangerous relations between pop music and symphony orchestras in the late sixties (Procol Harum, The Moody Blues and The Nice) is one of its consequences. Another is the emergence of a hippie counterculture in the Notting Hill area and its derivations in the circuit of festivals free. Finally, three large trials addressing some of the most popular bands of the genre: Yes, Pink Floyd and Emerson, Lake and Palmer. Two other volumes, focusing respectively on relations of Progressive Music with Folk and Jazz, complete a work that insists conceive the Prog as part of a broader evolution of British culture and society. Erudite and entertaining at the same time, this book is an invitation to know in depth a key period of popular music of the twentieth century.
Was there a British rock, even English? One that consisted of something more than the mere accumulation of bands under a common geography. That he spoke in a musical language with its own inflections, at a respectable distance from the North American influences that dominated pop. To cultivate a particular idiosyncrasy, a national identity. If so, when did you start this process? What role did progressive music play in it?
This second volume of the Social History of British Progressive Rock attempts to answer these questions. It begins with the transformation of folk revival into rock. And it continues with the mechanisms that made a certain British pop of the mid-sixties, Beatles involved, a force of immeasurable proportions. Along the way he rediscovers the forgotten traditions of music hall and street balladry, pantomime and variety numbers, the stubborn English urge to cling to whatever was out of fashion. And it summons a dialectic between modernity and nostalgia whose terms, far from being contrary, conspire to weave the plot that will weave later progressive rock.
It also traces the vicissitudes of a subgenre inspired by the brilliant intuitions of the Incredible String Band, another product of that time fertile in happy experiments. And it ends at the confluence of two currents, folk and prog, which for some time seemed to follow separate paths. It concludes with a pair of far-reaching syntheses, the prodigious sound universes of Genesis and Jethro Tull, whose reflection on an elusive Englishness would configure the categorical imperative of both bands.
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# Apologies, translated by https://translate.google.com.ar