艺术摇滚 Art Rock


艺术摇滚(Art Rock)于60年代末兴起于英国的一些受过古典音乐熏陶的摇滚音乐家中间。"披头士"乐队的《佩 普军士孤心俱乐部乐队》概念专集唱片被认为是"艺术摇滚"的先驱。 70年代中期,美国也出现了类似的倾向。"艾莫森、雷克与帕尔莫"(Emerson, Lake and Palmer)乐队将穆索尔斯基的《图画展览会》改编为摇滚乐;Yes乐队 在《接近边缘》中运用了古典奏鸣曲式。著名的美国乐队还有"纽约玩偶"( new York dolls),"路·里德"(Lou Reed)和"帕蒂·史密斯"(Patti Smith)。他们不强调摇滚乐与古典音乐的表面联系,而注重音乐逻辑的严密与 音乐素材的简练、统一,并由此启迪了朋克音乐与新浪潮音乐的产生。


The term art rock has been employed to describe several works of Rock music developed right after the 1960s Psychedelic Rock explosion. Following on the heels of this phenomenon, art rock has been the result of musicians developing an interest towards a handful of forms of music out of the boundaries of rock and, in general terms, making an attempt to break away as much as possible from the constrains imposed by Rock & Roll (or from the roots of rock itself, which, in turn, inspired genres like Blues Rock, Country Rock or U.S. Folk Rock). A non-musical factor that could explain this development is the conscious transition that certain rock (and non-rock) artists made from singles-based music towards a bigger development of the album as a cohesive lyrical and thematic whole (an important step towards the popularization of the so-called Concept Album) as shown by the 1966–1967 set of examples like Pet Sounds, Freak Out!, The Who Sell Out or Sgt. Pepper's Lonely Hearts Club Band (which can be counted as forerunners of later art rock). 

The Velvet Underground & Nico, which interpolated raw Garage Rock and psychedelia with lengthy Modern Classical-inspired drone and noise passages, unorthodox guitar tunings with heavy use of feedback, and subject matter generally centered around stark lyrical topics (all tied in with elaborate pop art-inspired imagery and live performances) is considered by critics and fans as the starting point of art rock. This template of limit-breaching rock music, concept-oriented LPs and complex live performances would be the basis for many artists during the 70s that added various influences to this archetype, including Jazz, Western Classical Music, Funk, avant-garde and early Electronic and Ambient music (and even instrumentation typical of some of these styles). Examples of art rock musicians during this stage include Roxy Music (along with the solo careers of Brian Eno and Phil Manzanera, as well as the Roxy-related 801), Pink Floyd, Station to Station/Berlin trilogy-era David Bowie, Peter Gabriel, Barclay James Harvest, Steve Harley/Cockney Rebel and ex-Velvet Underground members Lou Reed and John Cale. 

Ever since its beginnings, art rock has shared connections, musical ties and even presents apparent overlaps with Experimental Rock and Progressive Rock (eventually also bearing a relationship with styles like Art Pop, Glam Rock, Krautrock and Jazz-Rock). While art rock strives to find a level of complexity similar to the one present in these two affiliated genres, it generally features a mix of rock music that tends to follow certain Pop-based structures or patterns along with the aforementioned set of eclectic influences and certain degree of complexity and conceptuality, in contrast to the more classical/jazz-mimicking or inspired patterns of prog suites, or the more radical and angular experimental rock.

After the Punk Rock explosion of the second half of the 1970s, art rock dissolved, during the following decades, into other forms of rock music, including (but not limited to): Post-Punk, New Wave, Art Punk, and Post-Hardcore. The 1990s and 2000s would then see a series of newer bands taking inspiration from the musical and conceptual leanings of 60s/70s art rock acts (along with other influences) and as such, groups like late-90s/early-00s Radiohead, The Mars Volta, TV on the Radio, dEUS, АукцЫон [Auktyon], and The Mollusk-era Ween have been commonly credited with reviving popular interest in the genre into the new millennium.

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