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Progressive rock music --- Subculture --- History and criticism.

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"The original edition of Beyond and Before extends an understanding of "progressive rock" by providing a fuller definition of what progressive rock is, was and can be. Called by Record Collector "the most accomplished critical overview yet" of progressive rock and one of their 2011 books of the year, Beyond and Before moves away from the limited consensus that prog rock is exclusively English in origin and that it was destroyed by the advent of punk in 1976. Instead, by tracing its multiple origins and complex transitions, it argues for the integration of jazz and folk into progressive rock and the extension of prog in Kate Bush, Radiohead, Porcupine Tree and many more. This 10-year anniversary revised edition continues to further unpack definitions of progressive rock and includes a brand new chapter focusing on post-conceptual trends in the 2010s through to the contemporary moment. The new edition discusses the complex creativity of progressive metal and folk in greater depth, as well as new fusions of genre that move across global cultures and that rework the extended form and mission of progressive rock, including in recent pop concept albums. All chapters are revised to keep the process of rethinking progressive rock alive and vibrant as a hybrid, open form"--

Progressive rock music --- Rock music --- History and criticism

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Rock music --- Music --- Rock (Musique) --- Musique --- History and criticism --- Histoire et critique --- Progressive rock music --- England

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Popular music --- Psychedelic rock music --- Progressive rock music --- Jazz --- History and criticism. --- Canterbury (England) --- History --- Social life and customs

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Over the past two centuries Western culture has largely valorized a particular kind of "good" music-highly serious, wondrously deep, stylistically authentic, heroically created, and strikingly original-and, at the same time, has marginalized music that does not live up to those ideals. In Good Music, John J. Sheinbaum explores these traditional models for valuing music. By engaging examples such as Handel oratorios, Beethoven and Mahler symphonies, jazz improvisations, Bruce Springsteen, and prog rock, he argues that metaphors of perfection do justice to neither the perceived strengths nor the assumed weaknesses of the music in question. Instead, he proposes an alternative model of appreciation where abstract notions of virtue need not dictate our understanding. Good music can, with pride, be playful rather than serious, diverse rather than unified, engaging to both body and mind, in dialogue with manifold styles and genres, and collaborative to the core. We can widen the scope of what music we value and reconsider the conventional rituals surrounding it, while retaining the joys of making music, listening closely, and caring passionately.

Music --- Popular music and art music. --- Philosophy and aesthetics. --- Bruce Springsteen. --- George Frideric Handel. --- Gustav Mahler. --- Ludwig van Beethoven. --- good music. --- jazz. --- marginalized music. --- progressive rock. --- the Beatles. --- valuing music.