Metamorphoses of Rock or the Way to the "Third" Music

This monograph is the first investigation of rock as a musical and style phenomenon as far as Russian musicology is concerned. Rock-music and its style trends are considered here in a wide context of modern culture, in the context of transition from counter-cultural orientation to pan-cultural in particular. The intensification of artistic qualities is reflected in style thinking as well as in diversity of cultural-style and genre contacts. The connection of rock with the surrounding world, with the music of European tradition in particular is the main idea of the book. It is studied in different aspects from the typology of style trends to compositional structures and musical language.

First the author investigates non-commercial rock classics and contemporary music. Rock is considered in contrast with entertaining variety art. It was necessary to undertake a great and purposeful selection of a musical material to single out talented and original examples of rock that were the best to incarnate the idea of a cultural dialogue and widening of genre-style boundaries (The Beatles, Pink Floyd, King Crimson, Genesis, Jethro Tull, Yes, Van Der Graaf Generator, Emerson, Lake & Palmer, etc.).

The process of cultural, genre and style integration is especially active in art-rock. It forms different style modifications ("European-like", vanguard, ballad, Oriental, "Renaissance", electronic and other art-rock modifications). Style thinking is realized here as a collective creation of dialogue forms. The style individualization process distinguishes art rock from pop-variety art, the principle of homogenization of which became its law.

The book includes an Introduction, five chapters and the Conclusion. The Introduction outlines a range of problems and is devoted to substantiation of the investigation ground and the review of scientific works in this sphere. The first two chapters provide a review of historical material. Prehistory of the contact of genre sphere of music is given in the first chapter. Realization of this contact in jazz (in fusion-jazz in particular) is given special attention. The basic stages of "artization" of rock, its leading trends as well as the creative activity of the greatest representatives of art-rock, are defined in detail in the second chapter. Chapters 3 & 4 are of theoretical trend. They make clear the principal idea in compositional-structural and mode-harmonic aspects. Chapter 5 generalizes the observations from the point of view of style and style contacts and typology of contacts as well as gives a detailed analysis of some methods of work with models (assimilation, stylization, parody, etc.). A special type of style in rock-music (collective-individual) is noted here. The way to a wide musical sphere is undertaken in the Conclusion. A universal contradiction between a structure-forming style tendency and an entropy homogenized one become the object of attention here. The preponderance of the second tendency is connected with a deep "intonation" crisis that contemporary music experiences now. The integrated, hybrid, the "third" and other forms become one of the ways out of this crisis. Many of these are considered in this monograph.


Chapter I. General Prerequisites of Genre Contacts10
     Jazz: on the Way to the Dialogue16
Chapter II. Style Stratification of Rock. Metamorphoses of "Artization"28
     "Proto-art" of the 60s38
     Art-rock of the 70s. Ideas and Trends49
     "Post-art" of the 80-90s75
Chapter III. Genres and Forms94
Chapter IV. Mode Thinking121
     Blues and Mode Thinking of Rock122
     Diatonic-Mode Forms133
     Classical European Models147
Chapter V. Style Problems157
     Eclecticism or Polystylistics161
     Conversation or Re-creation?165
     Lexical Level of Style168
     The "Third" Music in the Reflection of Style Contacts172
Selected Discography197