progressive period music theory

Progressive music is music that attempts to expand existing stylistic boundaries associated with specific genres of music.

According to Allmusic, "rather than sampling or synthesizing acoustic sounds to electronically replicate them" producers of this music "tend to mutate the original timbres, sometimes to an unrecognizable state."

It was also majorly influenced from world music, especially African and Asian traditions. "[51] Reynolds also identifies links between progressive rock and other electronic music genres, and that "many post-rave genres bear an uncanny resemblance to progressive rock: conceptualism, auteur-geniuses, producers making music to impress other producers, [and] showboating virtuosity reborn as the 'science' of programming finesse. [25] The first three strokes of the bell are antecedent, and the remaining four strokes are consequent. The word "progressive" was frequently used, and it was thought that every song and single was to be a "progression" from the last. [42], A direct reaction to prog came in the form of the punk movement, which rejected classical traditions,[40] virtuosity, and textural complexity. Measures 5 and 6 are also similar harmonically and melodically to measures 13 and 14.

Ladzekpo considers cross-rhythm to be rhythmic conflict or an alternate motion, and a main beat concurrence to be a moment of resolution.

[...] The consequent phrase of the period repeats the antecedent but concludes with a stronger cadence. Its antecedent phrase is initiated by a basic idea that recurs at the beginning of the consequent phrase. .

"[15], Progressive big band is a style of big band or swing music that was made for listening, with denser, more modernist arrangements and more room to improvise. It is the most often accented clave stroke in my research material.

[26], The music was developed immediately following a brief period in the mid 1960s where creative authenticity among musical artists and consumer marketing coincided with each other.

[41][nb 9] Post-punk, which author Doyle Green characterizes "as a kind of 'progressive punk'",[43] was played by bands like Talking Heads, Pere Ubu, Public Image Ltd, and Joy Division. [...] bars 3–4 of the antecedent phrase bring a 'contrasting idea' that leads to a weak cadence of some kind. Like formalism, "eclecticism" connotes a predilection toward style synthesis or integration. While a sentence can close with a number of cadence types, the period’s consequent phrase always ends with a PAC: In this example, the BI is restated exactly at the beginning of the consequent. [38], "Post-progressive" is a term invented to distinguish a type of rock music from the persistent "progressive rock" style associated with the 1970s. [3] Rock music started to take itself seriously, paralleling earlier attempts in jazz (as swing gave way to bop, a move which did not succeed with audiences). [46] By 1993, progressive house and trance music had emerged in dance clubs. This is the opposite of Western harmonic theory, where resolution is described as strong.

Not only is the basic musical period established by the bell pattern but its distinctive rhythmic shape influences all aspects of the music and dance."

Ladzekpo, C.K. [22], During the mid 1960s, pop music made repeated forays into new sounds, styles, and techniques that inspired public discourse among its listeners.

When analyzing Classical music, contemporary music theorists usually employ a more specific formal definition, such as the following by William Caplin: The second definition of period in the New Harvard Dictionary of Music states: "A musical element that is in some way repeated," applying "to the units of any parameter of music that embody repetitions at any level.

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