Прогрессивті музыка: форма мен стильдің кеңеюі

Type of music that emphasizes expansion of form and stylistic variety

[[File:(Portrait of Stan Kenton, Shelly Manne, and Eddie Safranski, 1947 or 1948) (LOC) (5354790936) (cropped). jpg|upright=1.2|thumb|Bandleader Stan Kenton coined "progressive jazz" for his complex, loud, and brassy approach to big band jazz that conveyed an association with art music. The word comes from the basic concept of "progress", which refers to advancements through accumulation, and is often deployed in the context of distinct genres, with progressive rock being the most notable example. Music that is deemed "progressive" usually synthesizes influences from various cultural domains, such as European art music, Celtic folk, West Indian, or African. It is rooted in the idea of a cultural alternative, and may also be associated with auteur stars and concept albums, considered traditional structures of the music industry. As an art theory, the progressive approach falls between formalism and eclecticism. "Formalism" refers to a preoccupation with established external compositional systems, structural unity, and the autonomy of individual art works. Like formalism, "eclecticism" connotes a predilection toward style synthesis or integration. However, contrary to formalist tendencies, eclecticism foregrounds discontinuities between historical and contemporary styles and electronic media, sometimes referring simultaneously to vastly different musical genres, idioms, and cultural codes. In marketing, "progressive" is used to distinguish a product from "commercial" pop music.

Progressive jazz is a form of big band that is more complex or experimental. It originated in the 1940s with arrangers who drew from modernist composers such as Igor Stravinsky and Paul Hindemith. Its "progressive" features were replete with dissonance, atonality, and brash effects. Progressive jazz was most popularized by the bandleader Stan Kenton during the 1940s. Critics were initially wary of the idiom. Dizzy Gillespie wrote in his autobiography; "They tried to make Stan Kenton a 'white hope,' called modern jazz and my music 'progressive,' then tried to tell me I played 'progressive' music. I said, 'You're full of shit!' 'Stan Kenton? There ain't nothing in my music that's cold, cold like his." 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. The online music guide AllMusic states that, along with Kenton, musicians like Gil Evans, Toshiko Akiyoshi, Cal Massey, Frank Foster, Carla Bley, George Gruntz, David Amram, Sun Ra, and Duke Ellington were major proponents of the style.

"Progressive rock" is almost synonymous with "art rock"; the latter is more likely to have experimental or avant garde influences. Although a unidirectional English "progressive" style emerged in the late 1960s, by 1967, progressive rock had come to constitute a diversity of loosely associated style codes. With the arrival of a "progressive" label, the music was dubbed "progressive pop" before it was called "progressive rock". "Progressive" referred to the wide range of attempts to break with the standard pop music formula. A number of additional factors contributed to the label—lyrics were more poetic, technology was harnessed for new sounds, music approached the condition of "art", some harmonic language was imported from jazz and 19th century classical music, the album format overtook singles, and the studio, rather than the stage, became the focus of musical activity, which often involved creating music for listening, not dancing.

During the mid 1960s, pop music made repeated forays into new sounds, styles, and techniques that inspired public discourse among its listeners. The word "progressive" was frequently used, and it was thought that every song and single was to be a "progression" from the last. In 1966, the degree of social and artistic dialogue among rock musicians dramatically increased for bands such as the Beach Boys, the Beatles, and the Byrds who fused elements of composed (cultivated) music with the oral (vernacular) musical traditions of rock. 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). In this period, the popular song began signaling a new possible means of expression that went beyond the three minute love song, leading to an intersection between the "underground" and the "establishment" for listening publics. The Beach Boys' leader Brian Wilson is credited for setting a precedent that allowed bands and artists to enter a recording studio and act as their own producers. 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. Before the progressive pop of the late 1960s, performers were typically unable to decide on the artistic content of their music. Assisted by the mid 1960s economic boom, record labels began investing in artists, giving them freedom to experiment, and offering them limited control over their content and marketing. This development inspired greater musical diversity and sophistication, ambitious lyricism, and conceptual album oriented approach in black pop. Among the musicians at its forefront were Sly Stone, Stevie Wonder, Marvin Gaye, Curtis Mayfield, and George Clinton. According to Geoffrey Himes, "the short lived progressive soul movement flourished" from 1968 to 1973 and demonstrated "adventurous rock guitar, socially conscious lyrics and classic R&B melody". Similar to contemporaneous white prog musicians, progressive black musicians in the 1970s directed their creative control toward ideals of "individualism, artistic progression and writing for posterity", according to music academic Jay Keister, who notes that this pursuit sometimes conflicted with the collective political values of the Black Arts Movement. Among the stylistic characteristics shared from progressive rock in black progressive music of this period were extended composition, diverse musical appropriation, and recording music intended for listening rather than dancing. Rather than the song based extended compositions and suites of progressive white music, black counterparts in the 1970s generally unified an extended recording with an underlying rhythmic groove. Instrumental textures were altered in order to signify a change in section over an extended track's course. Examples of these characteristics include Funkadelic's "Wars of Armageddon" (1971) and Sun Ra's "Space Is the Place" (1973). Unlike the European art music appropriations used by white artists, progressive black music featured musical idioms from African and African American music sources. However, some also borrowed elements from European American traditions to augment a song's lyrical idea. For example, Wonder added pleasant sounding instrumental textures from a string section to "Village Ghetto Land" (1976), lending a sense of irony to an otherwise bleak critique of social ills in urban ghettos.

Reynolds posited that "the truly progressive edge in electronic music involves doing things that can't be physically achieved by human beings manipulating instruments in real time." He criticized terms like "progressive" and "intelligent", arguing that "it's usually a sign that it's gearing up the media game as a prequel to buying into traditional music industry structure of auteur stars, concept albums, and long term careers. Above all, it's a sign of impending musical debility, creeping self importance, and the hemorrhaging away of fun." 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."

"Progressive rap" has been used by academics to describe a certain type of hip hop music. Anthony B. Pinn regards it as a thematic subset alongside gangsta rap and "status rap", which expresses concerns about social status and mobility. While exploring existential crises and philosophical contradictions similar to gangsta rap, progressive rap, he says, "seeks to address these concerns without intracommunal aggression and in terms of political and cultural education, providing an interpretation of American society and a constructive agenda (e. g. self respect, knowledge, pride, and unity) for the uplift of Black America". He adds that works of the genre also utilize "a more overt dialogue with and interpretation of Black religiosity". In a corollary analysis, fellow academic Evelyn L. Parker says that progressive rap "seeks to transform systems of injustice by transforming the perspective of their victims" while demonstrating "the clear prophetic voice reflecting the rage caused by the dehumanizing injustices that African Americans experience". Other formative groups such as De La Soul, A Tribe Called Quest, and Brand Nubian helped establish the genre's thematic mode. At the turn of the 2000s, Outkast and The Roots were among the few progressive rap acts who "ruminated on hip hop's post millennial direction" and "produced records in an avant garde vein purposely intended to evolve the music" while achieving commercial success, according to Miles Marshall Lewis. Kanye West, another influential artist in hip hop's progressive tradition, achieved even greater success with his opening trilogy of education themed albums in the 2000s. His 2010 album My Beautiful Dark Twisted Fantasy has also been associated with prog rap due largely to its sampling of records from progressive rock as well as its ostentatious sensibilities. The UK has also produced notable performers in progressive rap, including Gaika and Kojey Radical, who are credited by Vice in 2016 for working "deliberately outside the confines of grime and traditional UK hip hop to create genuinely progressive rap that rivals the US for creativity, urgency, and importance, and portrays a much broader black British music landscape than you hear on the radio." More recently, American studies and media scholar William Hoynes highlights the progressive rap of Kendrick Lamar as being in the tradition of African American art and activism that operated "both inside and outside of the mainstream to advance a counterculture that opposes the racist stereotypes being propagated in white owned media and culture".