Listening to the Future: The Time of Progressive Rock, 1968-1978

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Open Court Publishing, 1998 - Music - 356 pages
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In the early seventies, King Crimson, Yes, Jethro Tull, Emerson, Lake and Palmer, and many others brought forth a series of adventurous and visionary works, often of epic length. Responding both to the new possibilities in rock music opened up by "Sergeant Pepper's Lonely Hearts Club Band", as well as to the countercultural politics and aesthetics of the late sixties, these musicians applied consummate instrumental and compositional skill to transgressing boundaries. Since the late seventies, histories of rock music have either ignored or marginalized the progressive rock era. In part, this has occurred because rock music criticism has taken an almost completely sociological turn, with little or no interest in musical form itself. In "Listening to the Future", Bill Martin argues that it is a musical and political mistake to ignore this period of tremendous creativity, a period which still finds resonance in rock music today. He sets the scene for the emergence of progressive rock (showing that, in fact, there has always been a progressive trend in rock music, a trend that took a quantum leap in the late sixties), and develops a terminology for understanding how an avant-garde could arise out of the sonic and social materials of
 

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Listening to the future: the time of progressive rock, 1968-1978

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Martin (Music of Yes, LJ 11/15/96) argues convincingly that the progressive rock movement of the early 1970s, whose pillars are the bands King Crimson and Yes, deserves consideration as important ... Read full review

Contents

Seize again the day
1
The prehistory of progressive rock
21
The time of progressive rock Toward
55
Sent through the rhythm A guided
150
Apogee 197O1974
177
Zeitgeist Sea change or heart murmur?
299
Additional discography
330
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About the author (1998)

Children's writer Bill Martin, Jr. was born and raised in Hiawatha, Kansas. Ironically, the future early childhood educator had difficulty reading until he taught himself, before graduating with a teaching certificate from Emporia State University. After graduation, he taught high school drama and journalism in Kansas. He served in the Army Air Force as a newspaper editor during World War II. He wrote his first book, The Little Squeegy Bug, for his brother, Bernard, an artist, to illustrate while recuperating from war wounds. It was published in 1945 and the brothers would go on to collaborate on 10 more books by 1955. He earned a master's degree and doctorate in early childhood education from Northwestern University and became principal of an elementary school in Evanston, Ill., where he developed innovative reading programs. In 1962 Martin moved to New York City to become editor of the school division of Holt, Rhinehart and Winston where he developed the literature-based reading programs Sounds of Language and The Instant Readers. Martin returned to full-time writing in 1972 and ended up writing over three hundred children's books during his career. His titles include; Brown Bear, Brown Bear, What do You See?, Polar Bear, Polar Bear, What do you Hear?, The Ghost-Eye Tree, Barn Dance, and Chicka, Chicka, Boom, Boom. He died on August 11, 2004 at the age of 88.

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