Progressive Rock:

An annotated bibliography and research guide.

Compiled by Curtis N. Smith

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Introduction

Progressive or “prog” rock, like many musical movements, emerged from a perfect storm

of artistic, sociological, political, and economic events. Most studies trace the birth and critical

mass of progressive rock to Great Britain. Bands like The Beatles, The Moody Blues, Cream,

and Procol Harum represented a youthful challenge to the status quo. Amidst psychedelics and

social upheavals, musicians and artists experimented with new sounds, technologies, and modes

of expressing their counterculture sentiments. This early generation of experimenters influenced

those exclusively associated with progressive rock such as King Crimson, Yes, Soft Machine,

and Pink Floyd. Historians commonly assume that Britain sent progressive rock to America,

Continental Europe, and the world, sparking a creative art rock uprising that culminated in

hugely successful bands like Kansas and Rush. However, this is only partly true. In his recent

article, “A Many-Headed Beast: Progressive rock as a European Meta-Genre,” Chris Aderton

argues that the conditions leading to progressive rock were everywhere during the 1960‘s.

Elements of progressive rock were brewing in Italy, Germany, and France as well as Britain.

Although the British, and subsequently American, progressive rock influence was greater in

terms of commercial impact and record exposure, Continental Europe was awash with

progressive rock activity that must be studied to understand this movement’s full scope.

Attempting to define progressive rock begs the question, “What made, and makes,

progressive rock progressive?” Progressive rock is a mixture of traditional rock instrumentation

with an augmented sound palette ranging from orchestras, synthesizers, world instruments, and

choirs as well as elaborate stereophonic stagings and productions. An analysis of progressive

rock’s stylistics is also necessary to fully define the movement. Its sound incorporates noises,
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juxtapositions, and timbral effects of the 19th century Romantic and 20th century Avant Garde

Western music tradition. Prog rock’s large crescendos, intimate pianissimos, and massive

proportions channel larger than life classical music heroes. Its harmonies stray from twelve bar

blues and I, IV, V7 patterns and return to a late/hyper-romantic 19th century vocabulary which is

rich with chromaticism, mediant relationships, and neapolitans, as well as large scale harmonic

structures like sonata and rondo form. Melodies, like harmonies, are more complex and look to

convey the meaning of the text rather than pitch a catchy tune and superficial line. The lyrics turn

from mere words to poetry and the subject matter expresses longing for the cosmos, mysticism,

and futurist utopias. Prog rock’s rhythms abandon visceral simplicity in exchange for dynamic

complexity. Polyrhtyhm, metric modulation, Eastern influences, and fluid meter changes signal a

conscious break from the dance music tradition—prog rock was to be listened to, not danced to.

As LP records and FM radio stations were willing to play out its massive ideas, prog rock

expanded the overarching structures, sprawling on for ten, twenty, or thirty minutes of

interconnected motivic material (Montgomery).

In the mid to late 70’s, prog rock was confronted by a new generation of music—punk

and disco (Reynolds). With its back-to-basics mentality, punk rock opened the floodgates for a

new generation of simpler, grittier, less “pretentious,” and more “honest” rock. Prog rock all but

disappeared but did not die; it went underground (Cateforis). Its influences lived on in

commercially successful ventures by bands like Genesis, Yes, Rush, and other pop musicians

who incorporated its marketable elements (Albiez). The die-hard fans were always there and a

new generation of prog rock, metal, and fusion eventually emerged during the nineties and

currently enjoys a healthy following.

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Those who were once young prog rock fans are now adults, with no less enthusiasm for

the music. Consequently, the last thirty years have been a boom period for progressive rock

research. Many fans are now tenured professors and researchers who have the time, resources,

and clout to produce serious work on prog rock. It is my aim to bring the best and most helpful

of these sources together in one verified and annotated compilation.

This bibliography is a collection of pertinent indexes, scholarly articles, dissertations,

theses, books, discographies, and other helpful materials. Most of the sources have been

physically verified by the author and those that have not are listed as “unverified.” Some

dissertations have been reviewed electronically under the respective universities’ assurance of

veracity. It would have been impractical to cover every band, so I’ve focused on including key

texts about a few specific bands. I did not do this out of favoritism or ignorance; I chose to

include these texts because they contain extensive bibliographies and discographies that serve as

references for deeper research into the myriad areas of prog rock. I recommend beginning with

the reference sources (and website bibliographies), then moving to the dissertation

bibliographies, and finally exploring the books and articles and their respective bibliographies

and discographies. My hope is that this bibliography will aid researchers and aficionados alike as

they navigate the cosmic journey that is progressive rock.

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Verified Reference Sources

Asbjørnsen, Dag Erik. Cosmic Dreams at Play: A guide to German Progressive and Electronic
Rock. Glasgow: Borderline Publications, 1996.

This is an A to Z guide to German Progressive and Electronic Rock groups (ca.

1970-1980), featuring complete album listings for all bands and most cover artwork.
Included is an index of musicians and, more important, record labels. There is also a brief
introduction to German progressive and electronic rock with a bibliography. Asbjørnsen
provides a deep yet accessible survey of the oft-neglected German prog rock scene.

Asbjørnsen, Dag, Erik. Scented Gardens of the Mind. A Guide to the Golden Era of Progressive
Rock (1968–1980) in More Than 20 European Countries. Wolverhampton: Borderline
Productions, 2000.

This book is an extremely detailed, vastly comprehensive, and well-researched

discography of continental Europe progressive rock with chapters dedicated to Italy,
Spain, Portugal, France, Belgium, Luxembourg, The Netherlands, Denmark, Greenland,
Iceland, Norway, Sweden, Finland, Poland, Czechoslovakia, Hungary, Yugoslavia,
Romania, Bulgaria, Greece, Turkey, and Israel. Each chapter is organized alphabetically
by band name and each entry gives a discography and a brief abstract. More influential
bands receive longer abstracts. Most entries include personnel information and each
album includes LP publication information and numbers. This book doubles as a
discography and reference material. I consider this part of the progressive rock
collectors’ guide triumvirate that includes Cosmic Dreams at Play (German Progressive
Rock, Asbjørnsen) and Tapestry of Delights (British Progressive Rock, Joynson).

Freeman, Steve, and Alan. The Crack in the Cosmic Egg: Encyclopedia of Krautrock, Kosmische
Musik & Other Progressive, Experimental & Electronic Musics from Germany. Leicester:
Audion, 1996.

An extensive and in-depth survey of German progressive rock. Includes an introduction

that is equally thorough on Krautrock and the Kosmische Musik scene. The introduction
includes a vital “Krautrock top 100 Albums” discography, a chronologically organized
geneological tree of Krautrock, and several pages devoted to Krautrock lexicon. The
encyclopedia is organized alphabetically by band name and each entry includes a
discography, current band lineup, personnel history, and a brief biographical abstract.
Album entries include LP numbers and publication information. It has an alphabetical
index of band names and a cross referenced index for artists who played in multiple
bands. The index also specifies guest appearances, non-German bands working within the
genre, and artist pseudonyms (with a key for their real names).

Holm-Hudson, Kevin. Progressive Rock Reconsidered. New York: Routledge, 2002.

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Collection of essays dealing with historical context, analytical perspectives, and post-
progressive rock legacies. All articles contain well-researched analysis and useful
bibliographic information.

Joynson, Vernon. The Tapestry of Delights: The Comprehensive Guide to British Music of the
Beat, R & B, Psychedelic and Progressive Eras, 1963-1976. 3rd ed. Wolverhampton: Borderline
Productions, 1998.

An extremely detailed, vastly comprehensive, and well-researched discography of British

progressive rock, this book is a guide for collectors that doubles as a discography and
reference source. Organized alphabetically by band name. Each entry gives a discography
and a brief abstract: more influential bands receive longer abstracts. Most entries include
personnel information for the band. Each album includes LP publication information and
number. I consider this part of the progressive rock collectors’ guide triumvirate that
includes Cosmic Dreams at Play (German Progressive Rock) and Scented Gardens of the
Mind (European Progressive Rock).

Patterson, Archie. Eurock: European Rock and the Second Culture. Portland, Oregon: Eurorick
Publications, 2002.

Compilation of every major article written for EUROCK magazine between 1973 and 1990.
EUROCK magazine was dedicated to “a particular time in the world when the limits of
imagination and what was possible sonically were stretched beyond the norm.” Includes limited
coverage of interviews and articles from 1990 to 2002. This is a very good resource for locating
articles that are otherwise very difficult to find in the original EUROCK print publication. These
articles are a particularly valuable resource for locating obscure interviews with artists like
Magma, Lars Hollmer (of Sweden’s Zamla), and Edgar Froese (of Tangerine Dream). The
introductory article is the famous, and previously unpublished, Amon Düül: A Science Fiction
Rock Spectacle by Lester Bangs. The organization is chronological by year. Although it lacks an
article title index it does include a very helpful artist and band index.

Pirenne, Christophe. Le Rock Progressif Anglais: 1967-1977. Paris: Éditions Champion, 2005.

An exhaustive look at progressive rock from 1967 to 1977. Includes in-depth musical,
style, and formal analysis of influential works. Devotes considerable time to the early
years of progressive rock and the Beatles, and analyses Brian Wilson and the Beach Boys
as experimentalists. Along with the usual progressive rock history, Pirenne devotes time
to the iconographic nature of progressive rock art. Very scholarly, objective, and thorough
approach to the subject of progressive rock. The bibliography is thorough and the
alphabetical index is organized by artists, group name, and titles, making it very easy for
anyone, no matter what language they speak, to use as a reference source.
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Snider, Charles. The Strawberry Bricks Guide to Progressive Rock. Chicago: Strawberry Bricks,
2007.

This is a year-by-year chronological and up-to-date survey on progressive rock from

1967 to 1979. Covers the main bands and dedicates research to Italian progressive rock,
German krautrock, and jazz fusion from a contemporary standpoint as opposed to many
of the guides compiled in the late nineties. Includes an index style that lists the essential
prog rock songs.

Smith, Bradley. “The Billboard Guide to Progressive Music. New York: Billboard Books, 1997.

A record guide that covers the gamut of progressive music from 1960 to 1990, with a 20
page, introduction and history of progressive rock. It is organized by band or artist name
and each band’s albums are subsequently listed chronologically. Intended as “an arbiter
of taste” this record guide provides a well researched top 100 progressive recordings, top
30 space rock recordings, and top 30 best sounding recordings. Also has additional
recommended titles, and a chapter attempting to define five styles of progressive rock
(classical formalist, impressionist, surrealist, dada/absurdist, and postmodernist).
Contains an extensive list of record dealers and their mail order/contact information. A
very helpful collectors guide and resource for a broad sampling of progressive rock.

Relevant Sources - Verified (95 total)

Aderton, Chris. “A Many-Headed Beast: Progressive Rock as a European Meta-Genre.” Popular

Music 29 (October 2010): 417-35.

Progressive rock historical critique that questions the validity of the UK-centric view of
progressive rock origins. Explains how market situations led to a prominence in British
progressive genres while leaving much of Europe unrepresented, both financially and as a
part of the history. Aderton then examines progressive rock as a “European meta-genre,”
taking into account the various artistic scenes besides the UK that account for the rich
musical history and language of progressive rock. Includes a thorough set of notes,
selective discography, and exhaustive bibliography. Very important article for those
interested in progressive rock in continental Europe.

Albiez, Sean. “Know history! John Lydon, Cultural Capital and the Prog/Punk Dialectic.”
Popular Music 22 (October 2003): 357–74.

Addresses the commonly-held prog/punk dialectic through a focus on John Lydon’s

creative work with the Sex Pistols and PiL. Shows that progressive rock music, while
seemingly killed by punk rock, actually had much in common with the creative
motivations of punk artists, namely the counter-culture ideals of “discomfort with music
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as industry, a belief in absolute individualism, and a sense of music’s potential as a

utopian cultural force.” Research draws on sociological studies in youth counterculture,
punk rock, and prog rock. Includes short discography and filmography.

Albiez, Sean. “Sounds of Future Past: From Neu! to Numan.” In Pop Sounds: Klangtexturen in
der Pop - und Rockmusik.” edited by Thomas Phelps and Ralf von Appen, 129-52. Bielefeld,
Transcript-Verlag, 2003.

This article, which is in English, addresses the rise of experimental or progressive

electronic music of the 70’s and 80’s. Cites progressive rock musician Brian Eno’s
influential role in the development of experimental rock and pop music from 1970 to
present. Also is a very important text for understanding Krautrock and the key bands of
that movement: Kraftwerk, Cluster, Harmonia, La Düsseldorf, Neu!, and others. Includes
a helpful bibliography and discography.

Alfano, Innocenzo. Verso un'altra realtà: cenni di strategia compositiva e organizzazione dei
brani nella musica rock da Jimi Hendrix al rock progressivo. Roma: Aracne, 2006.

An aesthetic analysis of compositional methods and forms in progressive rock music from Jimi
Hendrix to the height of the progressive rock era. Includes detailed musical analysis of works by
Jimi Hendrix, Pink Floyd, Genesis, ELP, New Trolls, and King Crimson. Includes discography
and bibliography.

Anderton, Chris C. “ ‘Full-Grown from the Head of Jupiter’? Lay Discourses and Italian
Progressive Rock.” In De-Canonizing Music History edited by Vesa Kurkela and Lauri Väkevä,
97-112. Newcastle upon Tyne: Cambridge Scholars Publishing, 2009.

Addresses the commonly-held belief that progressive rock is British by birth. Argues that
progressive rock developed across continental Europe at the same time as Britain. Cites the
flowering of Italian progressive rock as the example of progressive rock as a pan-European
musical movement. Includes bibliography and discography.

Asbjørnsen, Dag, Erik. Scented Gardens of the Mind. A Guide to the Golden Era of Progressive
Rock (1968–1980) in More Than 20 European Countries. Wolverhampton: Borderline
Productions, 2000.

This book is an extremely detailed, vastly comprehensive, and well-researched

discography of continental Europe progressive rock with chapters dedicated to Italy,
Spain, Portugal, France, Belgium, Luxembourg, The Netherlands, Denmark, Greenland,
Iceland, Norway, Sweden, Finland, Poland, Czechoslovakia, Hungary, Yugoslavia,
Romania, Bulgaria, Greece, Turkey, and Israel. Each chapter is organized alphabetically
by band name and each entry gives a discography and a brief abstract. More influential
 9

bands receive longer abstracts. Most entries include personnel information and each
album includes LP publication information and numbers. This book doubles as a
discography and reference material. I consider this part of the progressive rock
collectors’ guide triumvirate that includes Cosmic Dreams at Play (German Progressive
Rock, Asbjørnsen) and Tapestry of Delights (British Progressive Rock, Joynson).

Atton, Chris. “‘Living in the past?’ Value Discourses in Progressive Rock Fanzines.” Popular
Music 20 (January 2001): 29–46.

Review of early prog magazine practices and their revival from the 90’s to the present.
Important in understanding the bulk of lay research being conducted, promoted, and
disseminated. Explains how dedicated fans resurrect the genre, and the lack of financial
impetus behind their ventures. Hermeneutic view of the research and promotion of
progressive rock. Cites heavily from researcher Simon Frith.

Bangs, Lester. “Amon Düül: A Science-Fiction Rock Spectacle.” 1973, originally unpublished.
Later published in Eurock: European Rock and the Second Culture, edited by Archie Petterson,
1-7. Portland, Oregon: Eurock Publications, 2002.

Bangs addresses the musical scene in the United States and in Germany leading up to the
formation of the influential German band Amon Düül. He also reviews the influential albums
Yeti and Dance of the Lemmings. A very solid introduction to Krautrock and its roots by a very
influential progressive rock writer and editor.

Benson, Joe: Uncle Joe's Record Guide: Progressive Rock. Glendale, California: J. Benson
Unlimited, 1989.

Album guide to the music of ELP, Genesis, Jethro Tull, The Moody Blues, Pink Floyd,
and Yes. Each entry contains all pertinent release information: dates, number of releases,
chart positions, and a very good abstract that explains historical circumstances and the
music scene at the time of the release. The author also includes special information about
rare editions. Includes an alphabetical song index.

Bernard, Jonathan W. “Listening to Zappa.” Contemporary Music Review 18 no.4 (2000):

63-104.

Historical study of Frank Zappa’s connection to 20th century concert music. Cites his
admiration of Stravinsky and Varése and traces their, and similar 20th century influences,
in his music. Presents a view of Zappa’s genius that is often overshadowed by his
bombastic persona. Detailed musical exempts from “Oh No” and “Orange County
Lumber Truck.”
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Bowman, Durrell S. “ ‘Let Them All Make Their Own Music’: Individualism, Rush, and the
Progressive/Hard Rock Alloy, 1976-77.” In Progressive Rock Reconsidered, edited by Kevin
Holm-Hudson, 183–220. New York: Routledge, 2002.

Cultural/historical analysis of Rush’s individualism through the lens of their three works;
“2112,” “Xanadu,” and “Cygnus X-1.” Addresses the issues of genre and cultural
hierarchy in progressive rock from 1967-1974. Includes a detailed structural analysis of
“2112” as well as other musical excerpts from “Xanadu” and “Cygnus X-1.” Includes
detailed notes that cover all citation sources.

Bowman, Durrell Scott. “Permanent Change: Rush, Musicians’ Rock, and the Progressive Post-
Counterculture.” PhD diss., University of California, Los Angeles, 2003

Historical and Stylistic analysis of the progressive rock band Rush from their beginnings
in the early 1970’s to 2002. Traces their development and musical appeal to a broad, post-
counterculture, working-class demographic. Includes a musical analysis of major works
including “Working Man,” “Anthem,” “2112 Overture,” “Xanadu,”“Free Will” “Tom
Sawyer” “YYZ” and many more. Includes appendices of Billboard chart peaks, primary
and secondary concert cities, fan surveys (which illuminate fan demographics, tastes,
ages, etc.), a list of professional musicians who are “interested in Rush’s music,” Neil
Peart’s extensive personal reading list, discography with in-depth track information
(studio mix levels and instrumentation), and exhaustive bibliography.

Breitman, Uri. Roḳ mitḳadem: mi-shenot ha-60 ṿe-ʻad ha-yom. Tel Aviv: MAPA Publishers,
2005.

First known Hebrew book on progressive rock. Covers the general history and development of
prog rock as well a chapter devoted to the local Israeli movement. Attempts to define what
progressive rock is, what the musicological parameters are for the genre, and what caused it to
flourish, die, and be reborn.

Cateforis, Theo. “How Alternative Turned Progressive: The Strange Case of Math Rock.” In
Progressive Rock Reconsidered, edited by Kevin Holm-Hudson, 243–60. New York: Routledge,
2002.

Historical analysis of progressive rock in the early 90’s and its parallel, alternative rock.
Cateforis confronts the myth that all alternative music was in opposition to the
progressive music of the early 90’s by noting the convergent similarities between
underground and indie alternative scenes and prog rock aesthetics, his main focus being
math rock. Includes an introductory history, musical examples, analysis, and detailed
endnotes about math rock. Lacks a discography of math rock.
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Collins, Jon and Marshall Fraser. Marillion/Separated Out: The Complete History, 1979–2002.
London: Helter Skelter, 2003.

Authorized biography of the band Marillion based on interviews, magazine articles,

fanzines, websites, and other sources included in the bibliography. Covers the band’s
history from their early pub gigs to their very successful hits “Script for a Jester’s Tear”
and “Kayleigh.” Provides a close view of an important band from the second wave of
progressive rock (late 80’s to present).

Cortés, David: El Otro Rock Mexicano - Experiencias Progresivas, Sicodélicas, de Fusión y

Experimentales. México: Times Editores, 1999.

Historical analysis of progressive, fusion, psychedelic, and Mexican experimental rock

from 1967 to present (1999). Includes comprehensive discography, bibliography, and list
of related articles.

Cotner, John Sidney. “Archetypes of Progressiveness in Rock, Ca. 1966-1973. PhD diss.,
University of Wisconsin-Madison, 2001.

Reconciles and raises questions concerning progressive rock in the U.K. and U.S. Cotner
provides extremely detailed style analysis of key prog rock precursors with a focus on the
eclecticism/formalism of the Beatles and King Crimson, the implicit progressiveness of
Jimi Hendrix style, and the rhythmic textures of Floyd’s “Careful With That Axe,
Eugene.” Complete with musical examples, structural outlines, and a brief etymology of
the term “progressive rock.” Includes extensive bibliography, selected discography, and
cited musical scores.

Cotner, John Sidney. “Music Theory and Progressive Rock Style Analysis: On the Threshold of
Art and Amplification.” In Reflections on American Music: The Twentieth Century and The New
Millennium, edited by James Heintze and Michael Saffle, 88-106. Hillsdale, New York:
Pendragon Publishing Company College Music Society, 2000.

Cotner proposes that progressive rock grew within “the two dominant reactionary
ideological trends: formalism and eclecticism” He suggests that Andrew Chester’s
“concepts of extensional and intensional musical construction” provide a method of
musical analysis for the techniques and interconnectivity of progressive rock. Gives a
new perspective on style analysis and progressive rock as both a musical and cultural
movement.

Cotner, John Sidney. “Pink Floyd’s ‘Careful with That Axe, Eugene’: Toward a Theory of
Textural Rhythm in Early Progressive Rock.” In Progressive Rock Reconsidered, edited by
Kevin Holm-Hudson, 65–90. New York: Routledge, 2002.
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A historical and analytical study of Pink Floyd’s “Careful with That Axe, Eugene” that
draws on Wallace Berry’s methods for evaluating musical texture and Eytan Agmon’s
procedures for analyzing rhythmic durations. Cotner provides a brief historical context
and focuses most of his attention on musical analysis (score excerpts, harmonic
progressions, and structural outlines) and how it represents a “convergence of particular
improvisational idioms and conceptual strategies that had begun in their first two
albums.” Includes detailed notes and lacks a bibliography.

Covach, John S. “Echolyn and American Progressive Rock.” Contemporary Music Review 18
no.4, (2000): 13-62.

An aesthetic and historical view of American progressive rock from the mid 60’s to
present. Focuses on band Echolyn and similar bands of the time period. Musical analysis
of part of their piece “A Suite for the Everyman” (1992) and “Letters” (1995). Score
exempts, harmonic charts. Based on research by John Covach, Bill Martin, Allan Moore,
and other big names. Discography for songs cited in the article. Has very helpful, in-
depth end notes.

Covach, John Sidney. “Jazz-Rock? Rock-Jazz? Stylistic Crossover in Late 1970s American
Progressive Rock.” In Expression in Pop-Rock Music. A Collection of Critical and Analytical
Essays, Volume 2.” edited by Walter Everett, 113-34. New York: Routledge, 2000.

Addresses the term “crossover” in progressive rock and jazz-rock fusion. Focuses on the
major bands as well as the Mahavishnu Orchestra and Chick Corea (Return to Forever)
and their Medieval Overture. Formal analysis is focused on structure, instrumentation,
and stylistic juxtapositions. Covach also dedicates a section to the Dixie Dregs and
Happy The Man.

Covach, John Rudolph. “Progressive Rock, ‘Close to the Edge’ and Boundaries of Style.” In
Understanding Rock: Essays in Musical Analysis, edited by John Covach and G. Boone, 3-32.
NewYork: Oxford University Press, 1997.

Covach provides an in-depth style analysis of Yes’s “Close to the Edge” using a formal
diagram with exact seconds and harmonic/textural map. He focuses on their use of large
scale structural designs drawn from Western Classical music traditions. Covach argues
that progressive rock’s formal roots in Western Classical music are more sequential than
assumed pretentiousness and differentiates between superficial references to classical
music and deeper structural architectures.

Covach, John Rudolph. "Stylistic Competencies, Musical Humor, and 'This is Spinal Tap'", in
Concert Music, Rock, and Jazz Essays and Analytical Studies, edited by Elizabeth West Marvin
and Richard Hermann, 399-421. Rochester, New York: University of Rochester Press, 1995.
 13

Discusses humor and parody through instrumentation. Not about prog specifically but
illuminates the stylistics of British bands that were involved with progressive rock in the
60’s through analysis of how Spinal Tap takes these aspects and exaggerates them. Relies
heavily on Schopenhauer and Kant’s views of humor.

Covach, John Rudolph. “The Hippie Aesthetic: Cultural Positioning and Musical Ambition in
Early Progressive Rock.” In Atti del convegno internazionale Composizione e Sperimentazione
nel Rock Britannico 1966-1976, edited by Gianmario Borio and Serena Facci [no pagination].
Cremona: [Pavia University Press], October 2005.

Covach addresses the lack of research concerning progressive rock’s role in the history of
rock and the tendency to detach psychedelic rock’s influence on progressive rock. His
study focuses on the connection between “hippie aesthetics” (musical ambition, the
avant-garde, technology, virtuosity, lyrics, and conceptual music), progressive rock, and
general rock history. Includes a substantial bibliography.

Cutler, Chris. “Progressive Rock in the U.K.” In Theoretical and Critical Writings on Music.
edited by Chris Cutler, 171-96. London: November Books, 1985.

Cutler discusses the UK prog rock scene, however, his approach defines it as “rock music
which develops one or both of the two main pillars of rock music, 1. the new means of
production, namely electric and electronic instruments, including the recording studio and
2. the folk aspects of music making which rock is reforging: collective work in the group,
the unification of composition and performance, expressive improvisation, and direct
community with listeners.” This is an attempt to define the necessary and sufficient
conditions of prog rock. Although limited in scope to the UK, this theory is pertinent to
all progressive rock.

Delâge, Frédéric: Chroniques du Rock progressif 1967-1979. Périgueux: Lauze, 2002.

A vibrant, full-color history of progressive rock through the lens of album reviews. Each
review gives brief information about the band, circumstances surrounding the album, and
the importance of the album in the progressive rock pantheon. Includes a band-by-band
discography, alphabetical index, fanzine list, and an index of illustrators organized by
band. This is a very good reference for iconographic research into progressive rock album
art.

Everett, Walter. Expression in Pop-Rock Music: A Collection of Critical and Analytical Essays
Volume 2). New York: Garland Publishing, 2000.

Collection of essays with a section dedicated to “Style Studies in Progressive Rock and
Jazz-Rock Fusion.” The progressive rock section has four essays, the first two “Large-
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Scale Strategy and Compositional Design in the Early Music of Genesis” and “Jazz-
Rock? Rock-Jazz? Stylistic Crossover in Late-70’s American Progressive Rock” deal
with progressive rock on a general stylistic level. The last two deal exclusively with
Frank Zappa’s musical aesthetics.

Everett, Walter. “The Beatles as Composers: The Genesis of AbbeyRoad,Side Two.” In Concert
Music, Rock, and Jazz Essays and Analytical Studies, edited by Elizabeth West Marvin and
Richard Hermann, 172-227. Rochester, New York: University of Rochester Press, 1995.

Detailed musical analysis of Abbey Road side 2, “Here Comes the Sun,” “Because,”
“Medley,” and “Her Majesty.” Music examples, lyrics, and structural diagrams show the
instrumentation of every section of each song. Highlights the Beatles’s use of Moog
synthesizer, harmonium, and orchestration. Influential to progressive rock studio
recordings to follow.

Farrell, Gerry. “The Use of Elements from Indian Music in Popular Music and Jazz.” Popular
Music 7 (May 1988): 189-205.

Farrell discusses the influence of Eastern music, particularly the Sitar and Ravi Shankir,
on pop counter-culture, especially the Beatles. This influence in turn becomes a hallmark
of proto-progressive bands like the Beatles, Cream, Hendrix, and Dylan.

Fischerman, Diego. Efecto Beethoven: Complejidad y Valor en la Música Popular. Buenos

Aires: Paidós, 2004.

Fischerman argues that certain popular music genres are unique and different from that of
other musics of popular tradition and are therefore worthy of a deeper study than is
usually allotted to most popular genres. He defines elements present in prog rock and
identifies these elements in pop music. He covers King Crimson, Al DiMeola, Astor
Piazzolla, Paco de Lucia, Charles Mingus, and many other artists who embody this
“deeper” popular music. Includes a bibliography and discography for Astor Piazzolla.

Freeman, Steve, and Alan. The Crack in the Cosmic Egg: Encyclopedia of Krautrock, Kosmische
Musik & Other Progressive, Experimental & Electronic Musics from Germany. Leicester:
Audion, 1996.

An extensive and in-depth survey of German progressive rock. Includes an equally

extensive introduction to Krautrock and the Kosmische Musik scene. The introduction
includes a vital “Krautrock top 100 Albums” listing that is a valuable discography.
Introduction also contains a chronologically organized genealogical tree of Krautrock and
several pages devoted to terminology of the Krautrock scene. The encyclopedia is
organized alphabetically by band name. Each band entry includes a discography, band
 15

lineup and personnel, and brief biographical abstract. Each album entry includes LP
numbers and publication information. Includes an alphabetical index of band names and a
cross reference index for artists who played in multiple bands listed within the text. This
index specifies guest appearances, non-German bands working within the genre, and
artist pseudonyms (with a key for their real names).

Graves, Barry. "Classic Goes Pop." Musik und Bildung 5 (April 1973): 181-83.

Graves addresses pop music’s incorporation and use of classical repertoire, including
ELP’s use of synthesizer in covering Mussorgsky’s Pictures at an Exhibition and Procol
Harum’s baroque interlude in “Whiter Shade of Pale” based Bach’s cantata “Wachet auf,
ruft uns die Stimme.”

Gregory, Karl. “King Crimson’s ‘Larks’ Tongues in Aspic’.” In Progressive Rock Reconsidered,
edited by Kevin Holm-Hudson, 121–42. New York: Routledge, 2002.

Gregory argues that King Crimson’s gravitation toward classical models is not mere
imitation but an evolutionary motion dictated by similar musical conditions surrounding
the original models. He uses a formal analysis of LTA in relation to formal designs of
earlier works to prove this. Includes detailed endnotes that include pertinent bibliographic
information.

Halbscheffel, Bernward. “Rock barock: rockmusik und klassisch-romantische

Bildungstradition.” Free University of Berlin, Germany, 2001.

A historical analysis of the connection between musical aesthetics of the late 19th century
and popular music from 1965 to 1980 and the resulting musical phenomena known as
“baroque rock” or “classical rock.” Halbscheffel cites examples from The Nice, ELP, The
New York Rock Ensemble, as well as the music of J.S. Bach and Gustav Holst. Includes a
multilingual bibliography with many pertinent German language progressive rock
sources.

Harrison, Daniel. "After Sundown: The Beach Boys' Experimental Music." In Understanding
Rock: Essays in Musical Analysis, edited by John Covach and Graeme Boone, 33-57. New York:
Oxford University Press, 1997.

Discusses the Beach Boys’ move from conventional surf rock to the art rock of the album
Smile, and the eventual return to their roots after the album Sunflower. Includes detailed
harmonic and melodic analysis of experts from “Their Hearts were Full of Spring,”
“Don’t Back Down,” “California Girls,” “God Only Knows,” “Warmth of the Sun,”
“Good Vibrations,” “Wonderful,” and “Let the Wind Blow.” Addresses changes in Brian
Wilson’s approach to recording after Pet Sounds and the circumstances surrounding Smile
 16

and its repercussions, both commercial and psychological for Brian Wilson and the Beach
Boys.

Harris, John. The Dark Side of the Moon: The making of the Pink Floyd Masterpiece. London:
Harper Perennial London, 2006.

A historical study of Pink Floyd and the events within the band surrounding their early
years, struggles, and eventual recording of The Dark Side of the Moon—arguably the
most commercially successful progressive rock concept album. Harris draws on
interviews with lyricist Roger Waters and guitarist David Gilmour to piece together the
fragmented story. Includes bibliography, periodicals listing, websites, and rare
photographs of the band.

Hinners, Andreas. Progressive Rock. Musik zwischen Kunstanspruch und Kommerz. Marburg:
Tectum Verlag, 2005.

An introduction to and review of the progressive rock styles: Art Rock, Avant Rock, Jazz
Rock, Progressive Metal, and Neo Prog. Style analysis is drawn from Gentle Giant, King
Crimson, Frank Zappa, Fred Frith, Soft Machine, Mahavishnu Orchestra, and Dream
Theater. Covers modern progressive rock productions by King Crimson, Bruford Levin
Upper Extremities, The Trey Gunn Band, Tribal Tech, Victor Smolski, Terje Rypdal,
Heiner Goebbels, and Fred Frith’s Modern Ensemble. Half of this book is dedicated to
the commodification of progressive rock and its relation to the market. Includes a very
bibliographic index of secondary sources.

Holm-Hudson, Kevin. “‘American Metaphysical Circus’ of Joseph Byrd’s United States of

America.” In Progressive Rock Reconsidered, edited by Kevin Holm-Hudson, 43–64. New York:
Routledge, 2002.

Historical analysis of the oft-overlooked band United States of America. Holm-Hudson

addresses misconceptions about the band and highlights their influence on progressive
rock. Includes bibliography and selected discography.

Holm-Hudson, Kevin. “Apocalyptic Otherness: Black Music and Extraterrestrial Identity in the
Music of Magma.” Popular Music and Society 26 (December 2003): 481–96.

Historical research of the artistic intersection of cosmic African American philosophies

and progressive rock as manifested through the artistry of Christian Vander and his
progressive rock band Magma. Covers black “outer-space” aesthetics in jazz (Sun Ra,
Lee Perry, and others) and explains Vander’s goal of incorporating an eclectic array of
musical genres (from John Coletrane to Orff and Stravinsky) into a cosmic and
 17

sociological narrative. An important and unique analysis of progressive rock aesthetics

from an African American point of view. Includes notes, bibliography, and discography.

Holm-Hudson, Kevin. “A Promise Deferred: Multiply Directed Time and Thematic

Transformation in Emerson Lake and Palmer’s ‘Trilogy’.” In Progressive Rock Reconsidered,
edited by Kevin Holm-Hudson, 111–20. New York: Routledge, 2002.

A formal analysis of ELP’s “Trilogy” as being inspired by Liszt’s Tone Poems and
Berlioz’s programatic “Symphony Fantastique.” Holm-Hudson details the macro
structure and outlines important use of the octatonic scale. Includes helpful notes and a
bibliography.

Holm-Hudson, Kevin. “‘Come Sail Away’ and the Commodification of ‘Prog Lite’.” American
Music 23 (Autumn 2005): 377-94.

A study of reception history and commercial viability of “prog lite” in the United States
during the high point of progressive rock (1973-75) through a style analysis of Styx’s
“Come Sail Away.” Holm-Hudson defines “prog lite” as popular music that “dabbles in
superficial elements” of progressive rock. Addresses commodification of progressive
rock aesthetics and the inevitable topic of “selling out” that accompanies all artistic
movements. Includes detailed notes but lacks a bibliography and discography.

Horst, Dirk von der. “Precarious Pleasures: Situating ‘Close to the Edge’ in Conflicting Male
Desires.” In Progressive Rock Reconsidered, edited by Kevin Holm-Hudson, 167–82. New York:
Routledge, 2002.

Horst approaches “Close to the Edge” from a homosexual point of view and addresses the
lack of traditional (A.B. Marx et.al.) “masculine and feminine” roles of the sonata form.
He raises the question of “Close to the Edge’s” gender ambiguity as a result of the
treatment of the sonata form. The article is very personal and parallels his interactions
with music and closeted homosexuality. Includes detailed notes and lacks formal
bibliography.

Hung, Eric Hing-Tao. “Defining Art Music in Great Britain 1955-1975.” PhD diss., Stanford
University, 2003.

Historical analysis of art music in Great Britain with two chapters devoted to the
transatlantic influence of U.S. rock and the emergence of an art-rock movement. Hung
focuses his progressive rock research on the bands Cream and Emerson, Lake and Palmer
and provides deep historical context for the art music scene that fostered progressive rock
in Great Britain. Includes bibliography.
 18

Josephson, Nors S. “Bach Meets Liszt: Traditional Formal Structures and Performance Practices
in Progressive Rock.” The Musical Quarterly 76 (Spring 1992): 67-92.

Nors attempts to isolate musical structures of progressive rock into historical Western
music periods (Renaissance, Baroque, etc.) starting with early proto-progressive music of
the Beatles and continuing through the later works of the main progressive bands of the
70’s. These categorizations are made through style analysis of works and comparing their
traits with those of musical eras. Helpful for connecting the stylistics of classical music,
popular rock, and the avant garde to progressive rock.

Joynson, Vernon. The Tapestry of Delights: The Comprehensive Guide to British Music of the
Beat, R & B, Psychedelic and Progressive Eras, 1963-1976. 3rd ed. Wolverhampton: Borderline
Productions, 1998.

An extremely detailed, vastly comprehensive, and well-researched discography of British

progressive rock, this book is a guide for collectors that doubles as a discography and
reference source. Organized alphabetically by band name. Each entry gives a discography
and a brief abstract: more influential bands receive longer abstracts. Most entries include
personnel information for the band. Each album includes LP publication information and
number. I consider this part of the progressive rock collectors’ guide triumvirate that
includes Cosmic Dreams at Play (German Progressive Rock) and Scented Gardens of the
Mind (European Progressive Rock).

Kawamoto, Akitsugu. “‘Can You Still Keep Your Balance?’: Keith Emerson’s Anxiety of
Influence, Style Change, and the Road to Prog Superstardom.” Popular Music 24 (May 2005):
223-44.

An aesthetic analysis of Keith Emerson’s music based on Harold Bloom’s Theory of

Poetics. Covers works while Emerson was in The Nice and ELP. Kawamoto explores
progressive rock aesthetics with poetic/literary methodology—a unique approach to the
genre. Includes notes, bibliography, and discography.

Keister, Jay D., and Jeremy L Smith. “Musical Ambition, Cultural Accreditation and the Nasty
Side of Progressive Rock.” Popular Music 27 (October 2008): 433–55.

Addresses the misconception that progressive rock was an elitist art-music movement
aimed at classicizing rock music. Explains how the subject matter is dismissed as escapist
fantasy when it really focused on cultural criticism. The article centers on ELP, King
Crimson, Genesis, and Yes (the “Big Four”). Includes discography and videography and
in-depth abstract.
 19

Kilian, Gerald. "Historisierende Stiladaptationen der Popmusik." Musik und Bildung 23

(September/October 1991): 55-59.

Kilian addresses classical adaptations in rock/pop—a common progressive rock trait. He

analyszes Ekseption’s “The Fifth,” ELP’s “Pictures at an Exhibition,” and Waldo Rios’s Mozart
Symphony No.40.

Kneif, Tibor: “ ‘Roll over Beethoven,’ Zur Beethoven-Rezeption in der Rockmusik.” Musik und
Bildung 8 (October 1976): 535.

An early article discussing the progressive rock tendency to cover classical music, in this
case the use of Beethoven. Focuses on the Beatles, Vanilla Fudge, Ekseption, ELO,
Curved Air, and Chuck Berry’s “Roll Over Beethoven.” One page article.

Kneif, Tibor: Über Sogenannte Rockopern. Musik und Bildung 9 (January 1977): 49-50.

Early article addressing “Rock Opera” as a genre. Mentions Terry Morgan’s Viet Rock
and Galt MacDermot’s Hair (Lyrics by James Rado and Gerome Ragni). Discusses
“Jesus Christ Superstar,” “Tommy,” “ARK 2,” and various albums by the Kinks.

Kneif, Tibor: “Was ist ein ‘Concept Album’?” Musik und Bildung 9 (May 1977): 301-302.

An early attempt to define “concept albums.” Makes the connection between The
Beatles’ “Sgt. Pepper’s” and the concept of a concept album. Also covers Frank Zappa
(and The Mothers of Invention) “Absolutely Free,” “Foxtrot” by Genesis and Zoot
Money’s “Transition.”

Larsen, Keith O. “An Analysis of the Piece ‘Eulogy’ by the Progressive Rock Band Tool.” MFA
thesis, California State University, Long Beach, 2007.

In-depth analysis of the progressive nature of Tool’s song Eulogy from the perspective of
a percussionist. Focuses on both musical and literary aspects of the work with analysis
devoted to Tool’s exploration of hero worship. Insightful look at a contemporary band
working within the progressive music heritage. Includes discography and concert
program for Larsen’s graduate percussion recital.

Lucky, Jerry. The Progressive Rock Files. 4th ed. Burlington: Collector’s Guide Publishing,
2000.

Addresses the history and definition of progressive rock, reviews progressive rock critics
and the current state of progressive rock, and forecasts the future of progressive rock. The
 20

final section is an alphabetical listing of over 1400 progressive rock bands, each with a
brief abstract and discography.

Lucky, Jerry. The Progressive Rock Handbook. Burlington: Collector’s Guide Publishing Inc.,
2008.

In-depth and up-to-date (as of 2008) guide to progressive rock music. Includes an
alphabetical index of over 3,200 bands and artists, biographical information, histories,
album art, and discographies. Also provides websites, texts, and music festival
information.

Letts, Marianne Tatom. “Radiohead and the Resistant Concept Album: How to Disappear
Completely.” PhD diss., University of Texas at Austin, 2005.

Letts discusses the history of the concept album and its place in progressive rock/music
history. She then examines the context and substance of tracks from the albums Ok
Computer, Kid A, and Amensiac to show how Radiohead deals with their ambivalence
toward commercial success through the themes of vanishing and withdrawal. In-depth
musical analysis covers scores, song structure, track placement within albums, and much
more. Research approaches both the concept album and progressive rock from a
contemporary angle. Includes a bibliography and discography.

Macan, Edward Lawrence. Endless Enigma: A Musical Biography of Emerson, Lake and
Palmer. Chicago: Open Court, 2006.

The most in-depth, extant study of Emerson, Lake and Palmer. Detailed biographical
information of all three that focuses on their musical activities. Includes bibliography,
discography, videography, listening guide, movie soundtrack guide, individual track title
guide, complete list of live shows, a statistical summary and analysis of ELP’s tour
patterns, and complete solo works discographies for all three members.

Macan, Edward Lawrence. Rocking the classics: English Progressive Rock and the
Counterculture. New York: Oxford University Press, 1996.

Comprehensive study of progressive rock history, from its origins in the hippie
counterculture to its apex in the mid-to-late 70’s. Addresses socio-cultural conditions that
led to progressive rock and its decline. Includes extremely detailed discographies
organized into the categories Proto-prog, Symphonic Prog, and Canterbury Scene. Also
includes a detailed set of bibliographies for books, articles, and scores.

Martin, Bill. Avant-Rock: Experimental music from the Beatles to Bjork. Chicago: Open Court,
2002.
 21

Historical research covering popular music’s experimental tendencies from early works
by Lennon and Yoko Ono to modern artists like Bjork and Zorn. Martin contextualizes
experimental rock/pop with research covering the European classical tradition and its
own experimentalists. He clarifies the relationship between the avant-garde movement
and rock, devoting considerable time to progressive rock. Includes an exhaustive
bibliography and suggested readings list.

Martin, Bill. Music of Yes: Structure and Vision in Progressive Rock Music. Chicago: Open
Court, 1996.

Historical research mapping Yes’s work from formation to 1996. Martin channels Adorno
and Marcuse in his analysis of Yes from a sociological angle. His research clarifies Yes’s
impact on progressive rock ideals and sociology and their place among the likes of King
Crimson, Jethro Tull, Pink Floyd and ELP. Includes a complete discography of both the
band Yes and projects that included members of Yes. Also included is an extensive
bibliography.

Martin, Bill. Listening to the Future: The Time of Progressive Rock, 1968-78. Chicago: Open
Court, 1997.

Historical research, covering from the roots of progressive rock through its height, all
with a sociological perspective that draws heavily on Marxist theory. Includes a guided
discography and a year by year coverage of 1968 to 1978. Also discusses the “post-prog”
years of 1979 through 1997 (its year of publication). Includes a detailed set of end notes,
deep bibliography, list of other resources, and alphabetical index.

McLaughlin, Noel and McLoone, Martin. “Hybridity and National Musics: The Case of Irish
Rock Music.” Popular Music 19 (April 2000): 181-99.

Historical study of Irish national music and its mixing with rock music. Devotes several
pages to the Celtic progressive rock band Horslips. McLaughlin and McLoone clarify the
context of folk-rock hybridity in Ireland and situates Ireland’s involvement in the
progressive music movement into Ireland’s hybrid music chronology. Includes notes,
discography, and bibliography.

McLeod, Ken. “Space Oddities: Aliens, Futurism and Meaning in Popular Music.” Popular
Music 22 (October 2003): 337-55.

Historical analysis of futurist/technologist trends in popular music from 1950-1990.

Contextualizes progressive rock’s place in this chronology and explains sociological
 22

reasons behind progressive rock’s cosmological infatuation, based on Marx, Durkheim,

and Merton’s philosophies of society and estrangement. Includes notes and bibliography.

Montgomery, David Owen. “The Rock Concept Album: Context and Analysis.” PhD diss.,
University of Toronto, 2002.

Historical analysis of the concept album from early extended playing 78 rpm records
(1948) to progressive rock albums of the 1970’s. Addressees the dichotomy between
compositional practice and social function of recorded music—the tension between
commercial purpose, social function, and artistic intent of concept albums. Analysis is
based on the works: the Beatles’ Sgt. Pepper’s Lonely Hearts Club Band, Frank Zappa’s
One Size Fits All, The Alan Parsons Project’s I, Robot, David Bowie’s Ziggy Stardust and
the Spiders From Mars, Lou Reed’s Berlin, and Alice Cooper’s Billion Dollar Babies.
Includes bibliography.

Moore, Alan. “Signifying the Spiritual in the Music of Yes.” Contemporary Music Review 15
no.3 (1996): 25-33.

A stylistic and textual analysis of Yes’s music, lyrics, and spiritual/cosmological

yearnings. Addresses the issue of spirituality and the musical methods used to project
spiritual subject matter—mainly harmonic, textural, and timbral effects. Research
addresses an important trait of progressive rock—the desire to transcend the mundane.
Does not included bibliography, notes, or discography.

Moore, Allan F. The Beatles: Sgt. Pepper’s Lonely Hearts Club Band. Cambridge: Cambridge
University Press, 1997.

Detailed study of every track on what is considered by many to be the first progressive
rock album. Moore also provides historical context, band preparations for the album,
reception analysis, musical impact and repercussions of the album. Includes a very well-
researched set of notes, selected bibliography, and a related discography.

Morris, Mitchell. “Kansas and the Prophetic Tone.” American Music 18 (Spring 2000) 1-38.

An aesthetic and literary analysis of Kansas’s selected tracks from the albums “Kansas”
and “Leftoverture.” Proposes that the band Kansas relied on a “prophetic tone” to
overcome the disparity between European art-rock and U.S. audiences. The “tone” is
Kansas’s conscious efforts to channel Christian Protestant themes of election, struggle,
and individuality in their lyrics which serves as a vehicle for connecting with average
 23

Americans who might otherwise be turned off by European progressive rock’s “elitism.”
Includes a selective discography and extensive endnotes.

Morse, Tim. Yes Stories: In Their Own Words. New York: Saint Martin’s Press. 1996.

Historical study of the band Yes, based on primary sources from interviews, fanzines
(Relayer in particular), and other fan input. Tells the story of Yes literally through the
personal accounts of members of the group. Focuses on band history and important
songs. Includes a selected discography and extensive bibliography.

Pallavicini, Piersandro: Quei Bravi Ragazzi del Rock Progressivo. Napoli: Edizioni Theoria s.r.l.,
1998.

Straightforward history of progressive rock from the 60’s to late 70’s. Dedicates a chapter
to bootlegs, “The Dark Allure of the Forbidden.” Includes a listing of progressive rock
labels, fanzines, and internet sources.

Palmer, John R. “Yes, ‘Awaken’, and the Progressive Rock Style.” 20 Popular Music (May,
2001): 243-61.

Palmer provides a style analysis of Yes’s “Awaken” as well as a commentary on methods

of analyzing progressive rock. He addresses the need to approach progressive rock with
analysis geared toward its classical/eclectic roots, not the conventional pop models.
Includes score analysis and a very detailed structural outline of “Awaken,” complete with
key areas, instrumentation, text, and exact track time. Also includes a comprehensive
bibliography, selected discography, and in-depth notes.

Patterson, Archie. Eurock: European Rock and the Second Culture. Portland, Oregon: Eurorick
Publications, 2002.

Compilation of every major article written for EUROCK magazine between 1973 and 1990.
EUROCK magazine was dedicated to “a particular time in the world when the limits of
imagination and what was possible sonically were stretched beyond the norm.” Includes limited
coverage of interviews and articles from 1990 to 2002. This is a very good resource for locating
articles that are otherwise very difficult to find in the original EUROCK print publication. These
articles are a particularly valuable resource for locating obscure interviews with artists like
Magma, Lars Hollmer (of Sweden’s Zamla), and Edgar Froese (of Tangerine Dream). The
introductory article is the famous, and previously unpublished, Amon Düül: A Science Fiction
Rock Spectacle by Lester Bangs. The organization is chronological by year. Although it lacks an
article title index it does include a very helpful artist and band index.
 24

Pethel, Blair. “Keith Emerson: The Emergence and Growth of Style: A Study of Selected
Works.” DMA diss., Peabody Conservatory of Music, Baltimore,1987-88.

An analytical study focused on Keith Emerson’s musical style within the context of his
two main bands, ELP (Emerson, Lake, and Palmer) and The Nice. A brief biographical
chapter, based on primary interviews with Emerson, scores, and unpublished manuscripts
covers early years and classical training. Subsequent chapters are style analyses of ELP
works and Emerson’s “Piano Concerto” (1976-77). Pethel also discusses Emerson’s
crossover and musical parallels with Gershwin and Bernstein. Includes discography for
ELP, The Nice, and Emerson’s soundtracks and an appendix of Emerson’s transcriptions,
and in-depth bibliography.

Peyser, Joan. “The Music of Sound or, The Beatles and the Beatless.” In The Age of Rock:
Sounds of the American Cultural Revolution, edited by Jonathan Eisen, 126-46. New York:
Random House, 1969.

Follows The Beatles’ transition from innocent pop-rock to stardom and eventually to
musical experimentalists. Peyser chronicles this journey and notes key connections
between band members and the avant-garde composers Varèse, Boulez, Stockhausen, and
how the band consciously moved toward experimentations that would lay the foundation
for future experimental rock groups and eventually influence progressive rock.

Pillsbury, Glenn Thomson. “Progressive Metal and the Music of Dream Theater.” MA thesis,
University of California Riverside, 1995.

General review of the history of progressive rock, tracing its lineage back to Sgt.
Peppers. Pillsbury focuses on Dream Theater’s “progressiveness” that sets them apart
from other heavy metal of the 90‘s, citing their fan bases and possible influences. Its
research is very experiential and at times lacks verification. While Pillsbury provides
insight into Dream Theater, he fails to connect their place in the progressive metal
chronology with those who inspired them and those that they influenced. The work also
does not include a bibliography and has only sparse musical examples.

Pirenne, Christophe. Le Rock Progressif Anglais: 1967-1977. Paris: Éditions Champion, 2005.

An exhaustive look at progressive rock from 1967 to 1977. Includes in-depth musical,
style, and formal analysis of influential works. Devotes considerable time to the early
years of progressive rock and the Beatles, and analyses Brian Wilson and the Beach Boys
as experimentalists. Along with the usual progressive rock history, Pirenne devotes time
to the iconographic nature of progressive rock art. Very scholarly, objective, and thorough
approach to the subject of progressive rock. The bibliography is thorough and the
 25

alphabetical index is organized by artists, group name, and titles, making it very easy for
anyone, no matter what language they speak, to use as a reference source.

Polkow, Dennis. "Rock Meets Classical." Musical America 112 (January/February 1992): 16-21.

A vernacular view of classical/rock hybridity in light of the popular music events at the
time—namely Paul McCartney’s Liverpool Oratorio. Polkow reviews the main bands
that championed the genre of progressive rock. He devotes attention to Sergeant Pepper’s
Lonely Heart’s Club Band and The Moody Blues’s Days of Future Passed (considered by
many to be the quintessential precursor to the progressive rock sound). Although
superficial, the research provides a view of progressive rock from popular music
perspective. Lacks bibliography and discography.

Prato, Paolo. “Musical Kitsch: Close Encounters Between Pops and Classics” In Popular Music
Perspectives 2: Papers from The Second International Conference On Popular Music Studies
September 19-24, 1983, edited by David Horn, 375–86. Salisbury: May & May Ltd., 1985.

Prato discusses the incorporation of Western Classical music tradition into rock and pop
music. He discusses the use of leitmotif, formal structures, and quotation in progressive
rock and jazz-rock. Bands discussed include The Nice, Jethro Tull, ELP, Vanilla Fudge,
Ekseption, Colosseum, Yes, Zappa, Love Sculpture, Gentle Giant, King Crimson, and
Pink Floyd.

Reising, Russell. Speak to Me: The Legacy of Pink Floyd’s The Dark Side of the Moon.
Burlington: Ashgate Publishing Company, 2005.

In-depth study of Pink Floyd’s 1973 concept album Dark Side of the Moon from a
historical, socio-cultural, literary, and musical perspective. Reising focuses on the context
surrounding the album’s debut and subsequent changes to the music (remastering, re-
releasing, and live staging) between the years 1973 and 1994. He also addresses various
covers of the album. Included are an extensive bibliography and an annotated
bibliography of reviews of The Dark Side of the Moon.

Reynolds, Simon. Rip It Up and Start Again: Post Punk 1978–84. London: Faber & Faber, 2006.

Vital text for understanding the music scene from the moment progressive rock dies (late
70’s) until it resurrects (late 80’s early 90’s). Focuses on postpunk bands and scenes and
addresses the relationship between punk rock and progressive rock—with admission of
some aesthetic similarities between the late Krautrock, avant-garde scenes and the punk
counterculture. Fills in the “blank” decade of progressive rock and explains what was
happening during that period.
 26

Robison, Brian. “Somebody Is Digging My Bones: King Crimson’s ‘Dinosaur’ as (Post)

Progressive Historiography.” In Progressive Rock Reconsidered, edited by Kevin Holm-Hudson,
221–42. New York: Routledge, 2002.

Robison argues that the true interpretation of Crimson’s “Dinosaur” is a personal history
of the lyricist, Adrian Below, not a history of progressive rock. To prove this, Robison
analyzes the text, with an application Umberto Eno’s Theory of Semiotics as his guide.
Includes a detailed formal outline of the song in various forms, both live and studio, a set
of notes and citations. The significance of this research is that it draws on Eno’s unique
form of analysis as opposed to the traditional style analysis model used by most
musicologists.

Rycenga, Jennifer. “Tales of Change within the Sound: Form, Lyrics, and Philosophy in the
Music of Yes.” In Progressive Rock Reconsidered, edited by Kevin Holm-Hudson, 143–66. New
York: Routledge, 2002.

Addresses the literary criticisms surrounding Jon Anderson’s (Yes’s lead singer) poetics
and theorizes that he was not being intentionally vague, nor was he using words for sonic
qualities at the expense of comprehension; rather that he was using text to “evoke overall
cosmological themes.” Approaches Yes’s lyrics from a literary viewpoint and addresses
progressive rock’s cosmological obsession. Includes a very detailed set of notes and an
equally detailed bibliography.

Samagaio, Frank: The Mellotron Book. Vallejo, California: ProMusic Press, 2002.

Text dedicated to the mellotron—the sound of early progressive rock. Covers the history
of the instrument and explains its functioning mechanics. Includes photos, vintage ads,
catalog clippings, sound libraries, discography of albums featuring mellotron, and a
bibliography.

Schaffner, Nicholas. Saucerful of Secrets: The Pink Floyd Odyssey. New York: Harmony Books.
1991.

Very well-researched biography of the band Pink Floyd. Based on Schaffner’s personal
interviews with members of the band and those close to the band. Covers the general
history of the band and includes a selected discography, selection of set lists, and
bibliography. Provides a survey of Floyd’s artistic development and output. Includes
selected discography, historically important set lists, and alphabetical index.

Sheinbaum, John J. “Progressive Rock and the Inversion of Musical Values.” In Progressive
Rock Reconsidered, edited by Kevin Holm-Hudson, 21–42. New York: Routledge, 2002.
 27

Sheinbaum addresses critics of progressive rock and the of “high” versus “low” value
judgements employed with respect to rock music’s assumed purpose. Includes a style
analysis of Yes’s “Roundabout” with emphasis on these “high” and “low” artistic
elements. Includes endnotes and few references.

Snider, Charles. The Strawberry Bricks Guide to Progressive Rock. Chicago: Strawberry Bricks,
2007.

This is a year-by-year chronological and up-to-date survey on progressive rock from

1967 to 1979. Covers the main bands and dedicates research to Italian progressive rock,
German krautrock, and jazz fusion from a contemporary standpoint as opposed to many
of the guides compiled in the late nineties. Includes an index style that lists the essential
prog rock songs.

Spicer, Mark S. “Large-Scale Strategy and Compositional Design in the Early Music of
Genesis.” In Expression in Pop-Rock Music. A Collection of Critical and Analytical Essays,
Second Edition, edited by Walter Everett, 313-44. New York: Routledge, 2000.

Detailed analysis of musical structure in Genesis’s early works, focusing on the 23-
minute prog epic, “Supper’s Ready” (from the album Foxtrot). Breaks each section of the
song down into sections and analyses both music (harmonic and melodic analysis) and
text (poetics and relation to the music). The large scale structural issues addressed are
applicable to progressive rock generally.

Smith, Bradley. “The Billboard Guide to Progressive Music. New York: Billboard Books, 1997.

A record guide that covers the gamut of progressive music from 1960 to 1990, with a 20
page, introduction and history of progressive rock. It is organized by band or artist name
and each band’s albums are subsequently listed chronologically. Intended as “an arbiter
of taste” this record guide provides a well researched top 100 progressive recordings, top
30 space rock recordings, and top 30 best sounding recordings. Also has additional
recommended titles, and a chapter attempting to define five styles of progressive rock
(classical formalist, impressionist, surrealist, dada/absurdist, and postmodernist).
Contains an extensive list of record dealers and their mail order/contact information. A
very helpful collectors guide and resource for a broad sampling of progressive rock.

Strong, Martin C. The Great Psychedelic Discography. Edinburgh: Canongate Books Ltd., 1997.

Extensive discography containing brief bio for each band or artist. Includes band lineups
with dates. Each band covered includes all of their albums’ publication information as
well as albums listed as “unissued.”
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Stump, Paul. The Music’s All That Matters: a History of Progressive Rock. London: Quartet
Books, 1997.

Puts the history of British progressive rock into cultural context by focusing on the
artistic roots of the 50’s. Focuses on the overall chronology of progressive rock and
highlights which bands continued to thrive and which ones became a byword. Addresses
arguments against progressive rock, i.e. pretentiousness, self-indulgence, pomp, etc., and
explains how progressive rock deals with the troublesome nature of being “progressive.”
Includes bibliography and selected discography.

Tamm, Eric. Brian Eno: His Music and the Vertical Color of Sound. Updated Edition. New York:
Da Capo Press Inc., 1995.

Biographic and historical look at Brian Eno and his music. Covers Eno’s personal
influences, styles, and musical upbringing as well as his musical output. A very important
text for connecting developments in ambient sound and progressive rock. Discusses
Eno’s connection with Robert Fripp, David Bowie, and David Byrne. Includes a thorough
bibliography and discography.

Tamm, Eric. Robert Fripp: From King Crimson to Guitar Craft. Boston: Faber & Faber, 1990.

This is not a biography of Robert Fripp. It is a period study of the artistic output of Fripp
and the impact and importance of his craft on the music world. Tamm covers all aspects
of Fripp’s style and relates this development to various periods of Fripp’s artistic career.
He also addresses Fripp’s work with King Crimson, Brian Eno, Andy Summers, David
Bowie and others. Includes a bibliography and extensive Fripp discography.

Tillison, Andy. Not as Good as the Book. Auch: MBL Musique et Multimedias, 2007.

A novella by Andy Tillison (of Tangent) that, while science fiction, explains the history of
progressive rock in a very innovative and creative way. Dave Jacobs, the protagonist,
awakens 88,000 years in the future, and with the aid of ethnographers and historians of a
post-apocalyptic future sets out to reconstruct the true history of the 20th and 21st
centuries. Along the way an interesting, and educating, story of progressive rock unfolds.
The booklet is part of a special release packet that includes Tangent’s album Not as Good
as the Book. At 96 pages, it is not sleeve notes and—although a novel—it is a pristine
representative sample of the modern progressive rock concept album.

Watson, Ben. “Frank Zappa as Dadaist: Recording Technology and the Power to Repeat.”
Contemporary Music Review 15 no.1 (1996): 109-37.
 29

Watson connects Zappa to the European avant garde by analyzing his music as a form of
neo-dadaism. Drawing on the theory of dadaist Hans Richter, Watson addresses Zappa’s
bombastics as forms of cultural-musical subversion. This research accounts for the
actions of new experimentalists and new progressive rock groups like Zappa’s Mothers of
Invention as well as more recent bands like Sleepy Time Gorilla Museum. Includes
bibliography and discography.

Whiteley, Sheila. “Progressive Rock and Psychedelic Coding in the Work of Jimi Hendrix.”
Popular Music 9 (January 1990): 37-60.

Whiteley Analyzes how Hendrix takes Albert King, John Lee Hooker, and B.B. King in a
more experimental direction through his use of overdriven “fuzz” distortion, sustain, wah,
and other noise elements. She addresses the connection between Hendrix’s style and
progressive rock through use of noise/electronics as musical element on par with
harmony and melody. Addresses the important connection between rock music and
electronic music aesthetics, mainly distortion. Includes detailed musical analysis (score
with melodies, harmonies, and extended techniques) of “Purple Haze,” “Hey Joe,” and
“Love or Confusion.”

Weinstein, Deena. “Progressive Rock As Text: The Lyrics of Roger Waters.” In Progressive Rock
Reconsidered, edited by Kevin Holm-Hudson, 91–110. New York: Routledge, 2002.

Historical examination of progressive rock’s roots in a youth counter-culture that grew

out of an artistic and literary collegiate “bohemian” and “Romantic” background.
Accounts for the importance of poetics in progressive rock and for the criticisms incurred
for this artistic tendency. Research centers around Roger Waters’ lyrics in relation to these
aesthetics. Includes detailed notes with references but lacks a complete bibliography.

Wessel, Matthias. “ ‘Classic Goes Pop' und 'Pop Goes Classic.’ ” Musik und Bildung 24 (July/
August 1992): 57-61.

Springboards off of the original article “Classical Goes Pop” by Barry Graves and
addresses pop music’s incorporation of classical music elements. Analyses James Last’s
use of Schubert’s Impromptu No.2 and Elton John’s “Song for a Guy.” Provides
examples of progressive music tendencies to become popularized.
 30

Relevant Reference Sources - Unverified (12 total)

Anderton, Chris C. “Rethinking Progression: Progressive Rock Since the Late 1970’s.” From
presentation at IASPM International Conference, Liverpool, 13-17 July 2009.

Addresses the notions of “progression and progressiveness” in rock by examining the

survival and transformation of late-70’s early-80’s progressive groups through the lens of
neo-progressive rock aesthetics. (Annotation adapted from Anderton’s personal abstract)

Breton, Paul. “Lessons for New Media From the Rise and Fall of Progressive Rock Radio.”
Honors thesis, University of Oregon, 1997.

Addresses the important subject of FM radio and its relation to progressive rock’s
development.

Carrière, Gilles. Supertramp: 30 Ans de Breakfast. Bannalec: Des Dessins et Des Mots, 2002.

“Breakfast for 30 Years” First French bibliography of the band Supertramp. Covers their
history and involvement with progressive rock. This is a very difficult text to locate—
only three libraries in France own this book.

García Salueña, Eduardo. “Rock progresivo e identidades culturales en España: El Caso De

Asturcón.” Revista de musicología 32 no.2 [will be added upon verification]: 591-602.

Salueña addresses the cross-cultural elements of progressive rock in Spain through a

historical analysis of the band Asturcón. Deals with the genre’s incorporation of British
progressive rock elements as well as the folk/vernacular common to the Asturias area of
Spain during the early 1980’s.

Kneif, Tibor. Rock in den 70ern: Jazzrock, Hardrock, Folkrock und New Wave. Reinbeck bei
Hamburg: Rowohlt, 1980.

McAleer, Ken. A Progressive Rock Portfolio. Syracuse New York, Central New Yorker, 1970.

Pirenne, Christophe. “Utopia as a Form of Protest: the Case of Progressive Rock.” In Rebellische
Musik: Gesellschaftlicher Protest und kultureller Wandel um 1968. edited by Arnold
Jacobshagen, Markus Leniger, and Benedikt Henn, 139-45. [Cologne]: Dohr Köln, 2007.

Pirenne addresses the progressive rock themes of utopia and protest in correlation to the
climate of unrest during the late 1960’s.
 31

Romano, Will. Mountains Come out of the Sky: The Illustrated History of Prog Rock.
Milwaukee, Wisconsin: Backbeat Books, 2010.

Vázquez, Roberto. Rock Progressivo. México City: Rock y Letras, 2000.

Historical study of progressive rock, covering the early developments. Includes a list of
bands and their progressive rock styles.

Whiteley, Sheila M. “An Investigation into the Realtionship Between Progressive Rock and the
British Counter-culture, 1967-1973.” PhD diss., Open University, 1989.

Annotation adapted from the print index Rock Music Scholarship, Gatten.
Historical analysis of the relationship between British counter-culture and progressive
rock from 1967-1973. Explores reception and the audience-artist phenomenological
interaction. Whiteley also dedicates a full chapter to the issue of female image in
progressive rock. This source is widely cited but I have not been able to locate it or the
university of its origin.

Wright, Jonathan. “Tales from graphic oceans. A Study of the Role of Graphic Design in English
progressive rock and the concept album (1967-76).” MA diss., University of Southampton,
Winchester School of Art, 1997.

Addresses the importance of cover art and its relationship to the concept album. Cover art
and other extramusical elements (lighting, quadraphonic sound, etc.) are hallmarks of
progressive rock and this dissertation is the only one devoted exclusively to this topic.

Zak, Albin. “Rock and roll Rhapsody: Pop Epics of the 1970’s.” In Expressions in Pop-Rock
Music, Critical and Analytical Essay. edited by Walter Everett, 345-60. New York: Routledge,
2008.

Historical analysis of large-scale works that are not progressive rock. Zak analyzes Led
Zeppelin’s “In the Light,” David Bowie’s “Station to Station,” and Bruce Springsteen’s
“Incident on 57th Street.” His research argues that LP’s and new FM radio stations,
among other influences, lead to these extended, yet divergent, forms. This research
provides a foil to the progressive rock models of the same period and questions the
assumption that progressive rock alone was catalyzed by extended play opportunities.
 32

Other Verified Sources

New Gibralter Encyclopedia of Progressive Rock. http://www.gepr.net/. (accessed 24

March 2010).

A massive and very straightforward alphabetically organized encyclopedia of progressive

rock bands and artists. Hundreds of lay contributors collect and submit new information
and articles on bands and artists. Includes a numerical listing of band names—handy
because many progressive rock band names start with numbers. (Last updated 31 May
2010)

Prog Archives. http://www.progarchives.com. Site founder: Ronald Couture. Cofounder:

Maxime Roy. Site administrators include: Maxime Roy, Ronald Couture, Jim Garten, Boby
McBeath, Tony R., Atkingani, Angelo. Site WebMaster: Philippe Gratton. Site Administrator and
Moderatore: Dean Cracknell. (accessed 24 March 2011).

A vast archive with thousands of entries and hundreds of pages on artists, styles, sub-
genres, discography, bibliography, news, radio stations, rock guides, streaming audio,
purchase links, and much more. All organized in clear alphabetical order. The site is run
by a devoted group of administrators and grows through reader input. It is not an open
wiki format; only members can post. Materials are vetted. This is a very good first stop
for bibliographic and chronological information concerning progressive rock.

The Progressive Rock Bibliography. http://www.progbibliography.de/. (accessed 24

March 2011).

The bibliography covers many of my sources but branches out into individual artists
more. Includes “Young Person’s Guide,” thematically sorted list, literary reference list,
songlist, and an undocumented text list in html and print friendly version. A very good
bibliographic source for feeling out the entire genre. Many links from the bibliography to
text are inactive and the site was last updated 14 October 2008.
 33

Other Unverified Sources

Krautrock: The Rebirth of Germany. BBC Documentary

Six part documentary that covers the history of krautrock from its beginnings in post-
WWII Germany to its culmination in the modern European electronica sound. Explain
the circumstances surrounding key bands like Can, Amon Düül, and Kraftwerk. Also
explains connections between Stockhausen, the Darmstadt school, and German
progressive electronic-rock. I reviewed 5 of the 6 installments on YouTube and haven’t
found the publication information.

Prog Rock Britannia. BBC Documentary.

Documentary of British progressive rock music in four installments. I haven’t been able
to watch this or track down the publication information but I have been told it is a well-
researched documentary.