¡Hola a todos
!
En 12 días tendrá lugar el
II Congreso Internacional de Investigación en Rock Progresivo, organizado por el grupo de trabajo académico
The Progect, y que nos lleva en este caso a la Universidad de Edimburgo. El congreso tendrá lugar del 25 al 27 de mayo. Yo estaré en la presentación oficial del libro
Prog rock in Europe: overview of a persistent musical style, que se acaba de editar este año y en el que participamos 24 autores.
También se proyectará
The gold diggers, dirigida en 1983 por
Sally Potter (hermana del bajista
Nic Potter, que estuvo en
Van der Graaf Generator), con música de
Lindsay Cooper.
El resto de intervenciones de esos días tiene muy buena pinta, aquí os remito el programa completo. A destacar otra representación española, la de mi querido amigo y colega
Diego García Peinazo, quien recientemente ha defendido su tesis doctoral titulada
Rock andaluz: procesos de significación musical, identidad e ideología:
LECTURESChris Atton – "Writing about progressive rock: values, distinctions and exclusions"
Henry Cow and beyond: A conversation between
Georgina Born and
Simon FrithJohn Covach - "I get up, I get down: progressive rock and American Middle-Brow culture"
I. Music & IndustriesJacopo Costa - “A record market utopia: the economy of avant-garde rock”
Thomas Olsson - “Personnel, politics and production: progression in the case of
Isildurs Bane”
Kevin Holm-Hudson - “Proggerdammerung: Late Romantic chromaticism and commercial decline in some later period songs by
Procol Harum”
II. Boundaries of Progressive RockJustin A. Williams - "Rock’s Utopia, Jazz Critics’ Dystopia and the ‘Progressive’ in 1970s Jazz-Rock"
Nolan Stolz - “From jazz to prog in five minutes: progressive rock as teleological goal in
Chick Corea’s
King Cockroach (1986)”
Richard Worth - “A Parliafunkadelicament Thang: Can ‘good old funky music’, afrofuturism and awesome chops make for a passport to progrock recognition?”
III. Sound & RepresentationToni-Matti Karjalainen - “The power of the picture: visual storytelling in conceptual rock music”
Kathryn B. Cox - “Going mad the English way:
Pink Floyd and the musical portrayal of insanity”
Lori A. Burns - “Transmedia storyworlds in
Steven Wilson’s concept albums:
The Raven (2013) and
Hand. Cannot. Erase.(2015)”
IV. The Me decade: Black Prog, the boss and other secrets of the seventiesJay Keister - "Black Prog: soul, intellect and the progressive side of black music of the 1970s"
Jeremy L. Smith - "Secrets of the 70s: the progressive cycles of
Carole King and
Paul Simon"
John J. Sheinbaum - "There’s an opera out on the turnpike:
Springsteen’s early epics and the fantasy of the real"
V. Musical AnalysisRobert Sivy - “Exposing corruption in
Gentle Giant’s
The power and the glory”
Daniel Becker - “A new perspective on the concept album: the governing tonal axis in
Pink Floyd’s
Wish you were here”
Sean Bernard - “Investigating the importance of instrumental texture as a defining characteristic in the music of progressive rock”
VI. FandomChris Anderton - “Progressive rock fandom: creating, curating and archiving through blogs and bootlegs”
Nathan Hesselink - “
Radiohead’s ‘Pyramid song’: rhythmic ambiguity, Internet fieldwork, and collaborative aesthetics in progressive rock”
Holly Quibell - “Is progression allowed in progressive rock? How
Rush’s ‘Subdivisions’ divided more than just time”

VII. ListeningFranco Fabbri - “The age of binaural listening”
Sergio Pisfil - “Rethinking sound: progressive rock onstage”
VIII. Outside the UKAkitsugu Kawamoto - “The Genesis of
Shingetsu: Japanese appropriation of British Progressive Rock”
Arnar Eggert Thoroddsen - “‘Prog rock, we can also do that!’ The peculiarities of Icelandic progressive rock in the 1970s”
Jan Blüml- “‘Progressive rock tendencies’ in Czechoslovak popular music of the 1970s: concept albums and rock operas”
Andrei Sora - “Prog meets the Balkans: Romanian Progressive Rock”
IX. Composing & ProducingPhilippe Gonin - “Deciphering a creative process:
Magma and
Mëkanïk Dëstruktïw Kömmandöh”
Leonardo Masi - “Literary canon and progressive rock”
Maxime Cottin - “Improvisational strategies in 1974
King Crimson's live performances”
Nicole Biamonte - “Metric complexity in 1970s progressive rock”
X. Prog ReceptionChristophe Pirenne - “Progressive music - Progressive critics: Melody Maker, progressive rock and punk in 1976”
Sarah Hill - “ ‘An enticing experience’: women listening to prog”
XI. Progressive rock, progressive politicsDiego García Peinazo - “
Carmen: the world's first flamenco (British-American progressive) rock band? Ethnicity, modernity, and the transcultural battle for a genuine «Spanish sound» (1973- 1975)”
Ricardo Andrade - “País por conhecer, por escrever, por ler... -
Petrus Castrus, rock sinfónico, and socio- political critique in 1970s Portugal”
Paul Carr - “
Matching Mole, progressive style, genre and protest”