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Comparing prog from different countries

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presdoug View Drop Down
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Post Options Post Options   Quote presdoug Quote  Post ReplyReply Direct Link To This Post Topic: Comparing prog from different countries
    Posted: January 16 2013 at 19:31
There is a classical music tradition in the UK, mainly with composers from the 20th Century, like Elgar, Vaughn-Williams, Walton, Havergal Brian, Holst, Delius, etc., but i don't think it rubbed off on prog bands that much.
                It is important to not speak of the German prog scene as just "Krautrock", and to generalize from that position. There are important Symphonic Prog bands from Germany like Triumvirat and Wallenstein, that did connect with the Austro-German classical music tradition in some ways.
                   Austria does have a prog band scene, though, admittedly, not very high profile. The only band that comes to mind that i have heard is Vita Nova, but there are others.
                        
"and what music unites, man should not take apart"--Helmut Koellen                               
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Post Options Post Options   Quote jude111 Quote  Post ReplyReply Direct Link To This Post Posted: January 16 2013 at 21:44
Originally posted by aldri7

Maybe this is why French prog never developed along the same lines out of fear that others would accuse it of sounding like the UK.. :)


Vous etes francais? Have you heard Asia Minor's first album? That's my favorite French prog album (they sing in English,  however). Second would probably be HALLOWEEN, by Pulsar, although truth be told, I only need to listen to the first 10 minutes of it or so (which is utterly brilliant). I also really like Jarre's two big ones, and Ponty's 70s work. I agree with what you are saying, though. As a francophile, I was disapointed that I couldn't find any really great French prog, sung in French. Finally gave up. There's so much chanson francaise/variete that I enjoy though (which most French think I'm a total nerd for admitting to liking, such as Souchon and Obispo and Cabrel and Daho, et al :-) et Noir Desir, bien sur! ;-)


Edited by jude111 - January 16 2013 at 21:48
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Post Options Post Options   Quote Dellinger Quote  Post ReplyReply Direct Link To This Post Posted: January 17 2013 at 12:02
Isn't Ange good enough for those wanting to get some french prog? I have some Ange albums in my to-get list at the moment.
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Post Options Post Options   Quote moshkito Quote  Post ReplyReply Direct Link To This Post Posted: January 17 2013 at 16:23
Hi,
 
It's not too hard, really.
 
You take the movies from the time in those countries, the writers in those countries, and then the painters ... and you can see who is progressive or not.
 
German -- it's clearly defined in Edgar Froese's words in the Krautrock special ... and it also went for film, theater and art.
 
French -- Probably more history minded and such, in general any experimental and progressive out of that country was either like ... Heldon ... or Ange ... but the problem is ... how do you rate Alan Stivell, from Brittany? ... he's so varied and at times progressive, to the point of embarassing folks that never heard the mixes he has!
 
Italy -- I always though more classical music minded, even groups that took directly, classical music concepts and did them in rock instruments ... many groups fit this spot. However, it is easy to say that Banco, and Le Orme, did not exactly follow this route ... and still got it done, but I think they were too well defined to not know what they were doing.
 
Spain -- in the 70's the bands I heard were quite Yes, Supertramp sort of blends, with the usual amount of spanish guitar to show the difference. Funny thing, Carmen, was not from Spain. They were from LA, and many times they were more interesting as "spanish music" than the more traditional folks.
 
England -- I will not take a lot away from the english, except that they went ahead, and did not worry about what it was. And it goes back the tne mid-psych days and into the "beat" days ... something that is still not quite clear and studied as an important art movement that helped create many bands. But London, also has, some of the best theater in the world, and they even used electric bands, and Gryphon is a perfect example of a "progressive" band, that probably would not be ... if we unplugged the instruments! But it was good and then some.
 
I'm not as well versed on Eartern Europe to discuss, or Northern Europe. I am in film, and some theater, but not music, surprisingly enough.
 
But there are some odditties ... Egberto Gismonti is considered "jazz" and should be "progressive folk" when he is solo and alone on piano or guitars. Instead his early works have an amazing combination of Jan Garbarek, and Charlie Haden to create some intensely beautiful stuff that would be "progressive jazz" but no one can find a way to describe that ... and of course, to say that Brazil did not have "progressive" music is insane ... ! Or Argentina, but the subtleties I am not clear or familiar with.
 
One last one ... there was a film called "Bitter Sugar" that came from Cuba ... in that film there was a lot of music including a couple of things that were definitly progressive. Not all music in Cuba is the traditional, tiresome stuff ... there is more there than meets the eye!
 
Sorry for the generalizations ... hard to discuss these things out of context ... if you add the film makers, the artists and the writers to the country and jigger them really good, you know right away that you have a very strong "artistic" scene, that developed ... and as such the USA, England, Germany and France ... were at the forefront of it, and Tokyo joined up a bit later in full force! It's really hard to say that France's music was not progressive or experimental when some of their writers, and film makers were by VERY FAR the most experimental and innovative folks around during the 60's and 70's ... and what was seen in film, could also be seen in other arts.
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Post Options Post Options   Quote Finnforest Quote  Post ReplyReply Direct Link To This Post Posted: January 17 2013 at 16:58
Originally posted by Dellinger

Isn't Ange good enough for those wanting to get some french prog? I have some Ange albums in my to-get list at the moment.


Other cool French bands (besides Magma)

http://www.progarchives.com/artist.asp?id=771

http://www.progarchives.com/artist.asp?id=580

http://www.progarchives.com/artist.asp?id=991

http://www.progarchives.com/artist.asp?id=3378

http://www.progarchives.com/artist.asp?id=970


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Post Options Post Options   Quote presdoug Quote  Post ReplyReply Direct Link To This Post Posted: January 17 2013 at 19:36
^I love the French prog band Clear Light
"and what music unites, man should not take apart"--Helmut Koellen                               
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Post Options Post Options   Quote brainstormer Quote  Post ReplyReply Direct Link To This Post Posted: January 18 2013 at 08:11
Not sure how well the French did as far as creating as many numbers of great Prog bands, we
could just say Zheul could just be, for argument's sake,  a superfluous title for French prog, so all Zheul bands are
French prog bands.   Per capita, what countries have the most prog bands? Isn't France as
large as Germany and Britain? My favorite German bands are Neu, Novalis, Hoederlin, and 
Cluster, much of the other German stuff for me is a little too "wild."  But France had the YeYe
movement, which created really great melodies and arrangements, on par with much American
soul/pop from that time period.  I don't sense Germany having as much of that quality going on, whereas
Britain obviously did.  But I love some female German Schlager music, like Ina Martell from
East Germany, and Marion Maerz.  It's important to realize that Stella Vander was a big YeYe
star in France before she met Christian. 
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Post Options Post Options   Quote Gerinski Quote  Post ReplyReply Direct Link To This Post Posted: January 18 2013 at 10:01
As a Catalan / Spanish I can confirm that generally speaking, Catalan and Spanish Prog very often contains clear influences of the classical, popular and folk music of the land (which is a great thing in my opinion).

Edited by Gerinski - January 18 2013 at 10:02
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Post Options Post Options   Quote Warthur Quote  Post ReplyReply Direct Link To This Post Posted: January 18 2013 at 10:40
It's also worth considering that the national scenes were never entirely isolated from each other - even groups who were stuck behind the Iron Curtain at the time like SBB were able to take part in the cross-fertilisation of ideas.

For instance, if you're exploring the Italian scene it's worth being aware that Genesis and Van der Graaf Generator were - huge, huge, huuuuuuuge there. They had massive riots break out at VdGG concerts, for instance, and Genesis were a big deal in Italy well before they achieved comparable popularity in the UK. It's unquestionable that there was a fertile scene bubbling away there even before the Charisma tours of the early 1970s (must be about 1970-1971 because the insanity of the Italian tour contributed to VdGG's first breakup), but the English acts the Italians embraced - and Genesis/VdGG in particular - catalysed the Italian scene enormously, and I'm convinced it was one of the key factors in inspiring the massive boom in Italian prog acts putting out albums in 1972-1973.

Meanwhile, Bo Hansson was doing his Lord of the Rings album and would eventually get it published in the UK via Charisma, and a bit later ELP helped to put out English versions of Banco and PFM albums for the UK and US market. It's all interconnected...
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Post Options Post Options   Quote TODDLER Quote  Post ReplyReply Direct Link To This Post Posted: January 21 2013 at 08:48
I haven't investigated European music traditionally as much as I should and that is due to pure lame habits of my own. However..I own most of Guru, Guru's catalog which their influences are drawn from American Jazz and Blues. Mani and Some Friends takes on the role of a Frank Zappa style on tracks like "Chicken Rock' and also the Pink Floyd Ummagumma/Jimi Hendrix sound on tracks like "Another World". They also role play on American 70's Funk with "Eating my Hotdog"...they venture into the world of John McLaughlin..early Mahavishnu period on Dance of the Flames, Hendrix/Frank Marino style is evident on Kanguru etc. The originality of their style reveals itself in their sense of bizzare humour with sound effects and stories spoken in the German language.
 
Pulsar (a French band) draw influences from Pink Floyd and King Crimson while Ange are influenced by the sound of Genesis and K.C. Both bands have a great originality to their style of writing. It's amazing to me how they managed to pull that off in the real world! Goblin ...from Italy have a direct influence of ELP/Genesis within their sound yet have a much darker structure musically than both of those bands stylistically based on their constant interplay between guitar and keyboards interchanging or reversing methods of playing the "Devil's interval".
 
Rio bands like Univers Zero and Art Zoyd use the same formula yet it is based more so around the style of Avant-Garde composition derived from the 20th century. Which again...when I mention the "Devil's Interval"...I am making reference to tri-tones that they re-construct in a thousand ways, never totally heard before by those who were K.C. fans in the 70's, but more likely to have been performed first by string quartets of the 50's and through the music of John Cage, George Crumb, and many other greats. Nevertheless all cemented together to form a new inventive prog style of writing. A style that is evident (only in sections), on "Piece of Mind" by Curved Air.
 
Folk music is more evident in the style of French prog bands to me than the German experimental Krautrock ..however there are exceptions to that rule. Conventum (from Canada) and Harmonium seemed to have less influences from other's who were on the prog scene before them ..unless they were crafty enough just to cover it up...or maybe the music simply fell into place naturally and nothing was ever said between members of those bands just as nothing was hardly said when YES wrote Fragile. A telepathic experience where everything was created during the moment and pieced together between band members without too much verbal communication. Their minds could have been wiped clean of anything particular they experienced on that day and the notes entered their minds, they played it, it was fitting and bingo .."Southside of the Sky" was written or they could have came up with a signature line because they did in fact have a specific person, place , or thing on their mind. Nothing is an exact science when writing however ethnic, classical, folk influences you heard as a child before attending music college or even just formal training is planted in your mind...so therefore because you are human , you could delude yourself into believing that you wrote it. A question unanswered in most cases and left to the Gods...whoever they might be...either cosmic muffin or whatever you prefer that delusional energy level to be. Some kind of spiritual energy does channel through musicians and they create some of the most original music in history because of it...yet the musician has no control over it, doesn't care to define it as anything other than human growth of predictability and may find the topic farce. But according to the evidence of what has been composed in the past..there is something out there to the extent of the unknown which is a force that musicians connect with. Very much like Gnosis ..where upon you may feel something and not have an explanation for it. 
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Post Options Post Options   Quote TODDLER Quote  Post ReplyReply Direct Link To This Post Posted: January 21 2013 at 09:00
Originally posted by presdoug

^I love the French prog band Clear Light
 
I love that band too!
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Post Options Post Options   Quote someone_else Quote  Post ReplyReply Direct Link To This Post Posted: January 21 2013 at 09:18
Originally posted by Dellinger

Isn't Ange good enough for those wanting to get some french prog? I have some Ange albums in my to-get list at the moment.
I don't know them very well, but the albums from Le Cimetière des Arlequins to Guet-Apens should be worth a number of tries at least. Anyway, their last album, Moyen-Âge, is a rock solid StarStarStarStar in my book, but it is not widely acclaimed here on PA.


Edited by someone_else - January 21 2013 at 09:22
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Post Options Post Options   Quote Kosmonaut Quote  Post ReplyReply Direct Link To This Post Posted: January 21 2013 at 13:27
Scandinavian bands often lends quite heavily from Scandinavian folk music.
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Post Options Post Options   Quote aldri7 Quote  Post ReplyReply Direct Link To This Post Posted: January 21 2013 at 15:44
I'm glad to see all of this discussion as I've been away for 4-5 days. 

My first impression of this website is that there is an amazing base of knowledge here. I'm from the US and my knowledge of European prog and jazz is nowhere on the level of some of you.  I knew this when I started the thread - that I was probably going to find myself in over my head very quickly. But the great thing is this - I want to learn more, and thankfully you all have responded in ways that are perfect. I mean, I wanted to learn more about French prog, to get past my impasse and somewhat negative attitude there, and now you have given me the names of some bands to consider which I will do. Same goes for some other countries too. And so I hope to go out and do some more listening and then get back with some impressions.

My comment about UK vocalists drew a small amount of fire which is OK.  I'm not surprised at that.  And I think that my impression that these vocalists might not have been that popular on the continent (especially Germany and Italy) is based on what seems to be a lack of imitators and nothing more. Imitation is flattery.....

And as for Greg Lake being the quintessential prog vocalist......I wouldn't have a problem with that, but I might ask you to define "quintessential" and "prog".......:) 

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Edited by aldri7 - January 21 2013 at 16:03
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Post Options Post Options   Quote octopus-4 Quote  Post ReplyReply Direct Link To This Post Posted: January 22 2013 at 01:39
Originally posted by aldri7

I'm glad to see all of this discussion as I've been away for 4-5 days. 

My first impression of this website is that there is an amazing base of knowledge here. I'm from the US and my knowledge of European prog and jazz is nowhere on the level of some of you.  I knew this when I started the thread - that I was probably going to find myself in over my head very quickly. But the great thing is this - I want to learn more, and thankfully you all have responded in ways that are perfect. I mean, I wanted to learn more about French prog, to get past my impasse and somewhat negative attitude there, and now you have given me the names of some bands to consider which I will do. Same goes for some other countries too. And so I hope to go out and do some more listening and then get back with some impressions.

My comment about UK vocalists drew a small amount of fire which is OK.  I'm not surprised at that.  And I think that my impression that these vocalists might not have been that popular on the continent (especially Germany and Italy) is based on what seems to be a lack of imitators and nothing more. Imitation is flattery.....

And as for Greg Lake being the quintessential prog vocalist......I wouldn't have a problem with that, but I might ask you to define "quintessential" and "prog".......:) 

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Post Options Post Options   Quote moshkito Quote  Post ReplyReply Direct Link To This Post Posted: January 22 2013 at 10:47
Hi,
 
Funny thing ... guess where "database" comes in, first and importantly ... in a discussion such as this ... by taking "away" the separate nationalities.
 
Unffortunately, ALL music is so tied and related to its culture and the differences are what music history has been about for over 500 years. I have always thought that the stick, and the time keeping (fabulously shown to us with Salieri in a movie!) ... is a perfect example of how the upper class, does not want music to be brought down to the "public", and that "discipline" (or "timing") is important to ... keep control of the masses ... and remember that this was 350 years ago!
 
I know it's a subliminal type message, but maybe that is the reason I hate to see a drummer wasted to satisfy a time-keeping requirement, that is a part of "popular music" that has ALWAYS been thought of as "uneducated" music!
 
TO ME ... a lot of this "progressive music" ... is just about this ... showing that even other folks that are not necessarily a part of the "establishment" are also great musicians that can create outstanding work, thus my reasons for always making fun of the upper crust and the lower crust as well ... because sometimes the idea of just fighting for figthing's sakes and someone else collects the money ... is my idea of ripping off, and manipulating folks!  Which religion is next?


Edited by moshkito - January 22 2013 at 10:52
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Post Options Post Options   Quote aldri7 Quote  Post ReplyReply Direct Link To This Post Posted: January 22 2013 at 14:07
Originally posted by moshkito

 
Unffortunately, ALL music is so tied and related to its culture and the differences are what music history has been about for over 500 years. I have always thought that the stick, and the time keeping (fabulously shown to us with Salieri in a movie!) ... is a perfect example of how the upper class, does not want music to be brought down to the "public", and that "discipline" (or "timing") is important to ... keep control of the masses ... and remember that this was 350 years ago!
 
I know it's a subliminal type message, but maybe that is the reason I hate to see a drummer wasted to satisfy a time-keeping requirement, that is a part of "popular music" that has ALWAYS been thought of as "uneducated" music!
 
TO ME ... a lot of this "progressive music" ... is just about this ... showing that even other folks that are not necessarily a part of the "establishment" are also great musicians that can create outstanding work, thus my reasons for always making fun of the upper crust and the lower crust as well ... because sometimes the idea of just fighting for figthing's sakes and someone else collects the money ... is my idea of ripping off, and manipulating folks!  Which religion is next?

As I read this, I thought about the military and pictured soldiers marching to a strict beat. I never really thought about that before with respects to music and the upper and lower class. Uniforms helped too..:) You know, I suppose there was a time in our not too distant past when the only music with drums and a strict beat was marching music (fife and drums, etc)   And from there, we evolved and drums became standard in dance music as well. 

And so I googled this up. From the 16th to 19th century, military units usually had a drum corp which were used to aid troop movements in the field. it was also called "field music". And from there, marching bands, marching music etc evolved. And so to the aristocratic class, you can easily see how drums came to have an important role in their scheme of things - it was used to keep others in line.

And then throw in the fact that drums and drumming has a long history of practice in less developed countries - Africa, Asia, South America. So to the upper class, drumming probably at some point (19th century maybe during the global expansion) came to be associated with tribal cultures, uneducated masses to be controlled etc. And the first use of drums in western culture for dancing - (Strauss wrote waltzes but didn't score them for base drum..:)) - I don't know. Anyone? Was that a black influence in America or were they doing it before then? I kind of wish I had a time machine and I could go back to about 1910 or so, when Professer Hill in the Music Man was railing against ragtime..
Also, consider the evolution of the drug culture in western society which probably sort of paralleled the rise of dancing to the beat, jazz, etc. and then rock.

OK, well, I guess I'm going to relate this to what I feel about Zeuhl music in France where I mentioned that it seemed sort of subversive and jazzy - something that might not to be too popular with the more conservative upper class French. But now do you think that a lot of prog is essentially poorer folks wanting to impress the upper crust with their musical abilities? Them wanting to show that they are more than just slaves to a drum beat? I see proggers as genuinely having a preference for more complex, more "classical" or traditional sounding contemporary music. In my case, I grew up classically trained in piano. We didn't listen to jazz or blues in my house. I listened to a mix of classical music and broadway music as a kid. I liked Faure, Debussy, Romanian composers. The first "popular" song I ever heard that I really liked was ironically called "Classical Gas" which came out in 1968. Remember that one? :)The very name "Classical Gas" suggested a melding of contemporary and traditional values right there, very proggy in spirit, no? :) But its interesting because I also recall strains in the sixties with my parents, specifically over music, and how I wanted my folks to like "Yes" - I thought that it was "classical" enough that they might like it. In other words, prog was a way for me to bridge a gap, to compromise I guess, and I didn't want the old folks to lump me with those "disrespectful punks" who listened to rock music. I did genuinely like Yes and not the Stones, and so it wasn't faking it on my part. But they were wondering if they had brought me up right, while I was saying - "but I like Yes, Mom!" Doesn't that show you I'm OK?

Ah "yes", the memories........the electric piano I bought one year that I almost had to hide from my Dad......

Well, I didn't mean to take this off topic, but getting back to prog by country - the countries in Europe with particularly strong classical music traditions like Austria and France - now I can see these going one of two routes in the 70's. Back then, everything (musically speaking) was eroding in the eyes of the establishment. But there were still lots of kids growing up in both those countries that were classically trained, but just not very inclined to continue in that tradition. Perfect for prog then, you say? Jan Hammer and Jean luc Ponty are two musicians that come to mind. And they weren't going to just sit back and join a typical rock band either - their ears wanted more. But they could have just stayed in their respective countries and lead an effort to forge a prog style steeped in their own country's traditions. They didn't, though - they gravitated west and into jazz, not into "austrian" symphonic prog or "French" symphonic prog. If I had been in their shoes, I might have been tempted to do it differently, but it was maybe a case of if you can't beat them, join them. Probably they did not see any future in an indigenous prog (with non english lyrics), and saw much bigger bucks and more receptive audiences elsewhere. I know I was plucking my money down to hear them anyway, not some obscure prog band from an eastern european country with no label or distribution or marketing outside of their borders. But even without the infrastructure, its not entirely clear to me why eventually, a prog to rival UK prog (I'm talking symphonic prog here) never really developed in these countries. The skills are there. I know that musical genius resides in Vienna, Moscow, Budapest, Paris, etc. And the taste for classical music is there also. So one might have thought that prog would had been the perfect compromise for a country with a strong classical tradition. From what has been written previousy in this thread, I know that UK prog was popular on the continent. Was that enough to satisfy those kids there? Did few feel a need then to take on the challenge of writing an equally exciting prog based on the culture and traditions of their respective countries? Or are my ears biased and they DID try, but I just didn't like it as much (I do tend to favor dissonance, modes, 11th and 13th chords, etc vs simple major/minor. Thats whats "exciting" to me, plus good compositional skills)? Just to give you an example of what I mean from my limited time here - I really like After Crying's "Welcome on Board". Thats what I'm talking about - its to me an exciting, non UK, perhaps uniquely Hungarian version of prog. But to sort of sum this up (man, I've written a book here..), classical music evolved and reached its highest development on the continent, not the UK. But for prog, the reverse is true. And so I guess it was never really intuitively obvious to me that it should have happened that way. That means that if its Russian, its Shostakovich or Prokofiev that does it for me, not a prog band from there,  but if on the other hand its from the UK, I'll take Genesis or Yes, not something classical written earlier (Vaughn-Williams is a good one though)..

It is true though, music knows no borders, and radio penetrates hearts and minds in a way that no human can. I try to imagine what it might have been like growing up in Eastern Europe 50 years ago. The media is from where you get all of your information about the outside world, and it can cause young minds to dream.  And In the 60's  and 70's rock music was a new media - it used cutting edge technologies, recording techniques, and required companies willing to invest in those technologies and techniques. That technology and infrastructure was best developed in the west (UK, US, etc)  where in addition there were already large audiences receptive to jazz and blues and hence big bucks to be made. Probably that made the difference, and maybe why Jean luc Ponty and Jan Hammer, etc chose the path that they did...


From soggy Oregon, USA....far, far from european soil, but searching for enlightenment from my fellow proggers...:)

aldri7


















Edited by aldri7 - January 22 2013 at 15:08
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Post Options Post Options   Quote aldri7 Quote  Post ReplyReply Direct Link To This Post Posted: January 22 2013 at 19:30
Originally posted by aldri7

 That means that if its Russian, its Shostakovich or Prokofiev that does it for me, not a prog band from there

I'm going to quote myself here - because I think I may have answered my own question.

That country's with strong classical music traditions don't have better prog is maybe because they simply don't need it. Why would you need a substitute when you can have the real thing? Prog to many is really a rejection of standard classical music - I mean, it honors it  compared to rock'n roll, but is also says "I want to substitute a music that speaks to me more directly, uses more contemporary instruments, etc" i.e "I like classical music but its not my primary language and culture so I want to remake it in my own image". But the traditionalists would have no interest in that. They would say "if you want to make sophisticated music, why not just score it for an orchestra? So I would think in those countries that maybe too many would see prog as, at best, a cheap substitute, or, at worst, a clumsy attempt from a different part of society to challenge the status quo, to say "we can do it too, and sell even more albums than you".  And would the most musically gifted in those countries feel that writing for a prog band instead of an orchestra or other ensemble would be a waste of their precious talent? Maybe. This would tend to syphon off talent and water down the prog. So I'm glad then that there is great prog out there and countries where it has broad support from all levels of society.

aldri7







Edited by aldri7 - January 22 2013 at 19:34
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Post Options Post Options   Quote presdoug Quote  Post ReplyReply Direct Link To This Post Posted: January 22 2013 at 19:54
My life passion is classical music, from Bach to Shostakovitch, with the Late Romantic period my main focus, and the monumental symphonies of Anton Bruckner the summit of that for me.
        I grew up on rock music, especially heavy rock, and was a bit of a late comer to prog. I developed an interest in classical music around the same time as prog, so when a band like ELP or Triumvirat or Latte e Miele quote classical music directly, i've always really related to that, and found it really cool!
        But because i was raised on rock, i could never divorce myself from it or misunderstand it the way a classical snob would. I guess i get the best of both worlds in embracing classical music and rock. I couldn't live my life without both of them.


Edited by presdoug - January 22 2013 at 19:57
"and what music unites, man should not take apart"--Helmut Koellen                               
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Post Options Post Options   Quote aldri7 Quote  Post ReplyReply Direct Link To This Post Posted: January 22 2013 at 20:29
Originally posted by presdoug

My life passion is classical music, from Bach to Shostakovitch, with the Late Romantic period my main focus, and the monumental symphonies of Anton Bruckner the summit of that for me.
        I grew up on rock music, especially heavy rock, and was a bit of a late comer to prog. I developed an interest in classical music around the same time as prog, so when a band like ELP or Triumvirat or Latte e Miele quote classical music directly, i've always really related to that, and found it really cool!
        But because i was raised on rock, i could never divorce myself from it or misunderstand it the way a classical snob would. I guess i get the best of both worlds in embracing classical music and rock. I couldn't live my life without both of them.

Kudo's.....

If I had to give up one, classical, jazz or rock (prog, folk, etc) it would break my heart. Each kind of represents a different aspect of my life, and parting with any one of them would be like slicing a part of me off. No classical music aficionado could relate as I'm sure you would agree...

But I actually sort of found my way to rock through prog, not the other way around. Its kind of weird, but prog is what made other rock more acceptable to me. I really was more pop and classical oriented when I was a teenager. At times i felt pretty isolated from my peers...:)

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