"Every Home Is Wired": 2 -- The Progressive Rock Subculture and the Net

"Every Home Is Wired":
2 -- The Progressive Rock Subculture and the Net

Thus, both in its choice of instrumentation and in its stylistic appropriations Prog shows a disregard for established music scholarship's rules of clear style division; "musicians delved into the store rooms of art history and plundered its stars" (Frith & Horne 56). This in itself is a first indication of Prog's tactical relation to the dominant hierarchy of musical styles as such; as will soon become obvious, it is only one sign of Prog's generally tactical-oppositional stance towards many aspects of the music establishment.	Bit 10
Generally, then, "what stands out in an examination of progressive rock's relationship with contemporaneous musical styles is above all its eclecticism" (Macan 143). Since this eclecticism is also echoed in Prog's internal organisation, it may be useful to speak of Progressive Rock as a genre made up of a large array of more or less distinct sub-genres. As Macan points out in his chapter on 'Related Styles', this subdivision opens new questions -- about the location of the more marginal sub-genres (are they still Prog at all?), and about the usefulness of the collective genre 'Prog' in the first place. However, for all their differences these genres do share some of the characteristics already outlined, and are largely related through stylistic or personnel connections, as an overview of Prog history will show.⁶ Above all, it is always finally up to Prog fans to decide the boundaries of 'their' genre -- and significant numbers of fans see each of the major sub-genres as part of Progressive Rock. Briefly, then, these are some of the major Prog sub-genres, and their protagonists:	Bit 11

Thus, both in its choice of instrumentation and in its stylistic appropriations Prog shows a disregard for established music scholarship's rules of clear style division; "musicians delved into the store rooms of art history and plundered its stars" (Frith & Horne 56). This in itself is a first indication of Prog's tactical relation to the dominant hierarchy of musical styles as such; as will soon become obvious, it is only one sign of Prog's generally tactical-oppositional stance towards many aspects of the music establishment.

Bit 10

Generally, then, "what stands out in an examination of progressive rock's relationship with contemporaneous musical styles is above all its eclecticism" (Macan 143). Since this eclecticism is also echoed in Prog's internal organisation, it may be useful to speak of Progressive Rock as a genre made up of a large array of more or less distinct sub-genres. As Macan points out in his chapter on 'Related Styles', this subdivision opens new questions -- about the location of the more marginal sub-genres (are they still Prog at all?), and about the usefulness of the collective genre 'Prog' in the first place. However, for all their differences these genres do share some of the characteristics already outlined, and are largely related through stylistic or personnel connections, as an overview of Prog history will show.⁶ Above all, it is always finally up to Prog fans to decide the boundaries of 'their' genre -- and significant numbers of fans see each of the major sub-genres as part of Progressive Rock. Briefly, then, these are some of the major Prog sub-genres, and their protagonists:

Bit 11

Section 2 -- Go on to Bite:

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