Your opinion

[faruk1]

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[Werbinox]

First, how do you "know" there isn't much regard for rock or heavy metal amongst Classical listeners? Have you done a survey? If so, what are its results? Or are you just talking about the handful of friends and / or acquaintances into Classical that you have known? In my own experience, many of the music-lovers I know and have known actually like, and listen to, a broad spectrum of music. In many cases a love of progressive rock has lead to this; to wanting to hear many different styles, initially to trace down a lot of the influences we first heard in progressive music, later because a love of those different styles developed on its own. I myself first heard blues in the context of blues-rock, and later explored the old Delta and Chicago blues styles. I first developed a taste for Classical music from progressive rock, bands like Yes and ELP. Frank Zappa led me to Stravinsky. And so on...

Ive also seen that lots of metal-heads like classical music, initially because so much metal draws from it. Randy Rhoads and Yngvie Malmsteen did a lot to turn metal heads onto classical structures.

As for whether I like progressive rock because of complex structures, instrumentation, composition, etc., I can say Yeah, sure! But those are just reasons. I once heard Schopenhaur's philosophy of the will paraphrased as "we don't want something because we have reasons, we have reasons because we WANT it", and this was, and is, so often the case for me with progressive rock. The liking comes first, the reasons second. I didn't understand any of those reasons when I first heard it as a kid. I had a gut reaction to it, as well as an intriguing mental cerebral mystery: what is this? I don't understand it? It almost sounds 'wrong' somehow. And yet...and yet I am drawn to it, to play it again, to unravel the mystery, to hear seeming chaos become order...complex order. And my love of it remains like this to this day. I get a strong emotional / intellectual / even physical impact from it, and later learn the techniques of it all. I don't love it "because" it does all those things. I love it's adventurousness, which just so happens to utilize those techniques you list.

I listen to all styles of music, including Classical and Jazz and Blues. I enjoy much of it. Yet what makes me a music fanatic is progressive rock. I love the mixture, the adventure, the reaching for something different, further, un-nameable.

[Trane]

Two of Belgian's french-speaking classical radio DJs are major prog rock fans... and I suspect that there are more (and not just prog ), but they won't be caught dead admitting it.
If that was to leak out, I'm sure the establishment would consider them as heathens and have them removed from such an imoprtant task of being the clasical muezzins

[Supersonic Scientist]

First, how do you "know" there isn't much regard for rock or heavy metal amongst Classical listeners? Have you done a survey? If so, what are its results? Or are you just talking about the handful of friends and / or acquaintances into Classical that you have known? In my own experience, many of the music-lovers I know and have known actually like, and listen to, a broad spectrum of music. In many cases a love of progressive rock has lead to this; to wanting to hear many different styles, initially to trace down a lot of the influences we first heard in progressive music, later because a love of those different styles developed on its own. I myself first heard blues in the context of blues-rock, and later explored the old Delta and Chicago blues styles. I first developed a taste for Classical music from progressive rock, bands like Yes and ELP. Frank Zappa led me to Stravinsky. And so on...

Ive also seen that lots of metal-heads like classical music, initially because so much metal draws from it. Randy Rhoads and Yngvie Malmsteen did a lot to turn metal heads onto classical structures.

As for whether I like progressive rock because of complex structures, instrumentation, composition, etc., I can say Yeah, sure! But those are just reasons. I once heard Schopenhaur's philosophy of the will paraphrased as "we don't want something because we have reasons, we have reasons because we WANT it", and this was, and is, so often the case for me with progressive rock. The liking comes first, the reasons second. I didn't understand any of those reasons when I first heard it as a kid. I had a gut reaction to it, as well as an intriguing mental cerebral mystery: what is this? I don't understand it? It almost sounds 'wrong' somehow. And yet...and yet I am drawn to it, to play it again, to unravel the mystery, to hear seeming chaos become order...complex order. And my love of it remains like this to this day. I get a strong emotional / intellectual / even physical impact from it, and later learn the techniques of it all. I don't love it "because" it does all those things. I love it's adventurousness, which just so happens to utilize those techniques you list.

I listen to all styles of music, including Classical and Jazz and Blues. I enjoy much of it. Yet what makes me a music fanatic is progressive rock. I love the mixture, the adventure, the reaching for something different, further, un-nameable.

Very well said. +1 to this .

[Chain]

First, how do you "know" there isn't much regard for rock or heavy metal amongst Classical listeners?

He doesn't.

He cut and pasted this from Yahoo.

http://answers.yahoo.com/question/in...0221802AAhMWJ1

[cavgator]

He doesn't.

He cut and pasted this from Yahoo.

http://answers.yahoo.com/question/in...0221802AAhMWJ1

It appears that one of the commenters, Mezzo-in-Training, would fit in PE like an expensive Italian driving glove...LOL!

[Rufus]

My music teacher at school was a big ELP & Yes fan. He was also a big fan of classical music, probably because it was part of the curriculum!!! That's how I discovered a lot of classical music!

[Scrotum Scissor]

the fact that most (if not all) of it's practitioners are classically trained make the genre slightly more appealing

Absolutely no "fact" - extremely few "prog" musicians were/are "classically trained", and most of the ones who indeed ARE do not appear in Genesis/Yes/ELP blah-blah type bands. The case of someone receiving piano or violin or clarinet lessons during upbringing (as did many of us) do not make them "classically trained", and very, very few progressive bands applied charts/notes, simply because they weren't very able writers/readers or orchestrators. Among the few who were heavily scholared musicians, however: Francis Monkman and Darryl Way (both Curved Air), Richard Harvey (Gryphon), Robert John Godfrey (The Enid), Kerry Minnear (Gentle Giant), Lindsay Cooper (Henry Cow), Mont Campbell (Egg) - and note that none of these were "mainstream" harbingers of the "prog" concept.

There were also a significant number of trained musicians within the realm of Eastern European progressive rock (Sergey Kornilov of Russian ensemble Horizont/Gorizont, Sven Grünberg of Estonian act Mess, Magnus Kappel and several other members of Estonian heroes Ruja, half of GDR's successful Stern Meissen and not to mention people like Czeslaw Niemen or Marian Varga), in South America (Lito Vitale of MIA, Gustavo Moretti of Alas etc.) and to some extent in West Germany as well, but not that many whose music actually relied upon them being so. The overtly heralded "complexity" of much 70s "prog" gets kind of bland next to much of what has been made within certain experimental rock forms afterwards.

[cavgator]

Absolutely no "fact" - extremely few "prog" musicians were/are "classically trained", and most of the ones who indeed ARE do not appear in Genesis/Yes/ELP blah-blah type bands. The case of someone receiving piano or violin or clarinet lessons during upbringing (as did many of us) do not make them "classically trained", and very, very few progressive bands applied charts/notes, simply because they weren't very able writers/readers or orchestrators. Among the few who were heavily scholared musicians, however: Francis Monkman and Darryl Way (both Curved Air), Richard Harvey (Gryphon), Robert John Godfrey (The Enid), Kerry Minnear (Gentle Giant), Lindsay Cooper (Henry Cow), Mont Campbell (Egg) - and note that none of these were "mainstream" harbingers of the "prog" concept.

There were also a significant number of trained musicians within the realm of Eastern European progressive rock (Sergey Kornilov of Russian ensemble Horizont/Gorizont, Sven Grünberg of Estonian act Mess, Magnus Kappel and several other members of Estonian heroes Ruja, half of GDR's successful Stern Meissen and not to mention people like Czeslaw Niemen or Marian Varga), in South America (Lito Vitale of MIA, Gustavo Moretti of Alas etc.) and to some extent in West Germany as well, but not that many whose music actually relied upon them being so. The overtly heralded "complexity" of much 70s "prog" gets kind of bland next to much of what has been made within certain experimental rock forms afterwards.

I agree with what you say, but it is also possible, if not likely, that if it wasn't for the bland styles of ELP, Yes and many of the other major 1970s bands, much of that experimentation might not have occurred, or would have gone in a completely different direction.

The 1970s bands were all influenced as much by each other as they were by the classical masters. Late 1960s London must have been quite a place to develop your musical chops. I love reading stories by many of the musicians playing in a popular club, looking out at the audience and seeing George Harrison, Eric Clapton, Jimi Hendrix, Pete Townshend in the audience, checking them out, while early Yes was at the bar eating those discount steak sandwiches and drinking cheap rum and cokes. Being an American, it is often hard to grasp that the musicians of my country could have known one another long before their bands became famous. England, being a small country the size of one of our middling states, offered up and coming musicians the opportunity to see and hobnob with each other, sharing ideas and being influenced by what they were hearing.

[Scrotum Scissor]

I agree with what you say, but it is also possible, if not likely, that if it wasn't for the bland styles of ELP, Yes and many of the other major 1970s bands, much of that experimentation might not have occurred, or would have gone in a completely different direction.

The 1970s bands were all influenced as much by each other as they were by the classical masters. Late 1960s London must have been quite a place to develop your musical chops.

I perfectly agree with all of this. And there's no doubt that the "big" artists were wildly influential on developments taking place.

[Shadow]

It appears that one of the commenters, Mezzo-in-Training, would fit in PE like an expensive Italian driving glove...LOL!

I was thinking like a finger in a hiney, but to each his own.

[Rune Blackwings]

I know there isn't much regard for rock or heavy metal amongst Classical listeners...

"News to us."


"Same here."

[JKL2000]

Two of Belgian's french-speaking classical radio DJs are major prog rock fans... and I suspect that there are more (and not just prog ), but they won't be caught dead admitting it.

There was a profile in PROG mag over a year ago of a BBC classical "DJ" who was very into prog and very knowledgable about it . A female past middle age - I forget her name but I was impressed.