The Communicative-Stylistic Aspects of Art-Rock
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Abstract
It is possible to highlight the moment in the evolution of rock when it transforms itself from the dance-entertainment,
“everyday” type of music to the “presentational” variety, presuming a different type of perception, close to that of
classical musical compositions. Art-rock appeared in England in the late 1960s and achieved its prime in the first
half of the 1970s, having quickly spread throughout the entire world. This intensive evolution was accompanied by
a complication of its entire genre and style perspective, as well as a restructuring of its communicative chain, first
of all, of the listeners’ perception. Its essence consisted in the occurrence that the phenomenon of the entertained
consumer with an abstracted perception of the music is supplanted by that of a reflective listener, for whom music
becomes an object of serious contemplation and of a correspondingly appropriate perception. The article examines the
basic forms of rock-communication: the plein-air type, which subsequently incorporated “stadium” rock music, the
club (or session) type, and the concert type, connected with the concert hall or theater stage. The latter two – the club
and concert varieties – were destined to play an important role in the formation of rock as an art and its acquisition
of artistic qualities. An important role in this process was played by the Beatles, whose musical discoveries were
subsequently elaborated in the musical achievements of King Crimson, Yes, Jethro, Tull, Genesis, Van der Graaf,
Generator, Gentle Giant and other groups.
Keywords: art-rock, progressive, rock-concert, listener, musical perception, THE BEATLES, rock as an art.
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