Yes, 'Awaken', and the progressive rock style
Bibliographic Data
| ID | 4305325 |
|---|---|
| Authors | John R Palmer (corresponding author) |
| Year | 2001 |
| Volume | 20 |
| Issue | 2 |
| Pages | 243-261 |
| Publication date | 2001-05-01 |
| Peer Reviewed | Yes |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Popular Music (JOURNAL) |
| Journal identifiers | ISSN: 0261-1430 • E-ISSN: 1474-0095 |
| Publisher | Cambridge University Press (CUP) (PUBLISHER) |
| DOI | 10.1017/s026114300100143x |
| OpenAlex | W2147553741 |
| Language | EN |
| Citations received | 11 |
| References cited | 4 |
Going for the One was a good rebirth of Yes at that time, to find its feet and really know what it wanted to do. And we made 'Awaken' . . . (Morse 1996, p. 58).Since the release of their third recording, The Yes Album, in March 1971, the music of the English band Yes has been associated with the rock music substyle called 'progressive rock'. The first two Yes albums showcase a very capable, inventive group of musicians who drew freely from the multitude of sounds around them, emulating aspects of the various musical styles they found engaging. However, it was not until they composed the works appearing on The Yes Album that the band coupled this eclecticism with a quest for originality to develop a voice highly idiosyncratic when judged against prevailing popular music styles. Subsequent albums reveal a predeliction for experimentation and expansion, and successful record sales in both the UK and US encouraged further development in the same direction. Although not members of the 'first wave' of progressive rock bands, Yes became 'codifiers' and for many, especially later detractors, the flagship of the 'progressive' fleet. Before I go on to describe and illustrate, through the analysis of a particular song, aspects of Yes's musical language, I will briefly describe the environment in which it appeared and flourished
Aesthetics · Archaeology · Art · Eclecticism · Epistemology · Literature · Morse code · Multitude · Musical · Originality · Period (music · Popular music · Rock music · Style (visual arts · Telecommunications · Violin musical styles · Visual arts · Engineering · History · Media, Communication, and Education · Music History and Culture · Music Technology and Sound Studies · Philosophy · Psychology
The Sociology of Music
(Going) for the One
Reconfiguring Genre, Style, and Idiolect
What Makes Rock Music “Prog”? Fan Evaluation and the Struggle to Define Progressive Rock
Towards a Popular Music Criticism of Replenishment
Talk of Heritage
A many-headed beast
Scale Systems and Large-Scale Form in the Music of Yes
Lost in the city
Motivic cohesion and parsimony in three songs from Gentle Giant's Acquiring the Taste (1971)
Musical ambition, cultural accreditation and the nasty side of progressive rock
| Unique citing works | 11 |
|---|---|
| Citations per year | 0,58 |
| Citation span | 2007 - 2024 (18) |
| Citation velocity | recent |
| Highly cited | No |
| Citation types | Neutral: 11 |