사용자:Virnmer/작업목록/아트록

アート・ロックは、主に1960年代後半に活躍した特定の要素を持つロック・バンドや、その作品を分類した言葉。

日本のレコード会社が分類のために使い出したと言われている。ほぼ同時期にニュー・ロックという言葉が生まれており、アート・ロックと似た様な意味で用いられる場合が多い。

개념

베트남 전쟁과 텔레비전 보급등으로 1960년대 미국과 영국에서 꽤 극적인 가치관의 변화가 일어났으며 그것이 음악에도 반영되었다. シングル・ヒットを生み出すことが作品を作る上で最も重要だった 가장 중요했던 대중 음악에서 커다란 변화를 가져왔으며, 앨범 쪽을 보다 중시하는 밴드의 존재가 눈에 띄게 알려지기 시작했다. 앨범을 중시하기에, 라디오에 ラジオにかけるのに都合の良い演奏時間の制限を無視することができ、편곡 등에도 지금까지 없는 요소를 가져오는 뮤지션들이 다수 등장하지 시작했다.

이러한 영향의 견인차 역할을 한 대표적인 뮤지션에는 크림, 지미 핸드릭스, 핑크 플로이드, 제퍼슨 에어플레인, 플랭크 제파(en:Frank Zappa), 도어즈, 바닐라 퍼지(en:Vanilla Fudge), アンボイ・デュークス(테드 뉴젠트(en:Ted Nugent))

この傾向のけん引役となった代表的なミュージシャンとして、クリーム、ジミ・ヘンドリックス・エクスペリエンス、ピンク・フロイド、ジェファーソン・エアプレイン、フランク・ザッパ、ドアーズ、ヴァニラ・ファッジ、アンボイ・デュークス（テッド・ニュージェント）、ブラインド・フェイス、ヴェルヴェット・アンダーグラウンドなどが挙げられる。特にレッド・ツェッペリンはシングルをイギリスでは発売しなかった。それまでヒットチャート重視だったポップバンドの中にも、早くからその傾向が表れた例がある。例えばビートルズは、それまでのアルバムがシングル・ヒットを寄せ集めたものが主体だったのに対し、1967年に、「サージェント・ペパーズ・ロンリー・ハーツ・クラブ・バンド」という、アルバムに収録することを前提とした曲が多いアルバムを発表し、そして同年にデビューするトラフィックもクォリティの高い音楽性で人気を得てゆく事となった。

ジョン・ロードがサウンドの主導権を握っていた、初期のディープ・パープルもアート・ロックの範疇にあるとされていた。틀:CURRENTYEAR-JST年現在『ディープ・パープル III』となっているアルバムの初期の邦題が『素晴らしきアート・ロックの世界』だったことからも明らかである。当時の所属レコード会社の意向もあり、ヴァニラ・ファッジを念頭に置いた音作りをしていたとされている。

こういった傾向の音楽を聴いた側が、「娯楽性」と同等もしくはそれ以上に「芸術性」が強いと感じ、それゆえ「アート」という言葉につながっていった。

また、この傾向は1970年代に入ってさらに強まり、特に「プログレッシブ・ロック」と称される分野に受け継がれた。

관련 항목

• サイケデリック・ロック

비슷한 이름의 Rock art에 관해서는 해당 문서를 참조하십시오.

Roxy Music performing in Toronto in 1974

아트록은 록의 하위 분류로써 Art rock is a term describing a subgenre of rock music that tends to have "experimental or avant-garde influences" and emphasizes "novel sonic texture." Art rock is an "intrinsically album-based" form, which takes "advantage of the format's capacity for longer, more complex compositions and extended instrumental explorations." The Golden Age of Rock lectures define art rock as "a piece of music in the rock idiom that appeals more intellectually or musically; that is, not formulated along pop lines for mass consumption." The lectures note that it is "...usually somewhat experimental, using a long structure with several themes like classical music" or "a suite of individual songs." Art rock "almost always features keyboards more than guitar." As well, art rock is "not so much for dancing as for listening and it often tells a story or there is a philosophical theme to the lyrics."

Relationship with progressive rock

The concept of "art rock" has also sometimes been used to refer to the "progressive rock" bands which became popular in the 1970s. Allmusic states that "Progressive rock and art rock are two almost interchangeable terms describing a mostly British attempt to elevate rock music to new levels of artistic credibility." Progressive rock eventually stuck as a label for a specific genre of rock music, while "art rock" was used to refer to a wider, more subjective and harder-to-categorize collection of bands.

Larry Starr and Christopher Waterman's American Popular Music defines it as a "Form of rock music that blended elements of rock and European classical music. It included bands such as King Crimson; Emerson, Lake & Palmer; and Pink Floyd." Bruce Eder's essay The Early History of Art-Rock/Prog Rock states that "'progressive rock,' also sometimes known as 'art rock,' or 'classical rock'" is music in which the "bands [are] playing suites, not songs; borrowing riffs from Bach, Beethoven, and Wagner instead of Chuck Berry and Bo Diddley; and using language closer to William Blake or T. S. Eliot than to Carl Perkins or Willie Dixon."

David Bowie performing in 1978

The Guide to the Progressive Rock Genres lists "art rock" under the subheading "Forms Tangential and Peripheral to Symphonic Rock/Progressive Rock." The guide states that "art rock" is "another term often used interchangeably with progressive rock, [which] implies rock with an exploratory tendency." The guide also gives another definition of "art rock", which "describes music of a more mainstream compositional nature, tending to experimentation within this framework", such as "Early" Roxy Music, David Bowie, Brian Eno's 70s rock music, and Be-Bop Deluxe.

Connolly and Company argue that the "creation of the 'art rock' sub-genre, whose members were identified by music played with artistic ideals (e.g., Roxy Music, 10cc)... was in many ways a response to prog rock’s long-winded concepts, an attempt to condense progressive rock’s ideas into shorter, self-standing songs." He argues that "Art rock’s lifespan was brief, generally contained to the ‘70s."

Art rock may be considered "arty" through incorporating some elements of classical "art" music or literature, or simply through eclecticism. Examples of the former include Pink Floyd, The Moody Blues, The Who, The Nice, Emerson, Lake & Palmer, David Bowie, The Velvet Underground, Kate Bush, The Beach Boys, The Beatles, and Love (Forever Changes) and examples of the latter include Peter Hammill, Roxy Music, Genesis, Doctors of Madness, Tool, and Yes.

History

1960s–1970s

Music critic George Graham argues that "... the so-called Art Rock scene arose" in the 1960s, "when many artists were attempting to broaden the boundaries of rock." He claims that art rock "was inspired by the classically-influenced arrangements and the elaborate production of The Beatles Sgt. Peppers (1967) period" and states that the "style had its heyday in the 1970s with huge commercial success by Yes, and Emerson, Lake & Palmer, and later Genesis." Along with Sgt. Peppers, The Beach Boys concept album Pet Sounds (1966) has also been stated as pioneering the genre with its artistic ambitions.

However, Graham notes that art rock "quickly faded when punk rock and then so-called alternative rock arose at the end of that decade, exactly as a reaction to the sophistication, and in many cases, pretense of big, elaborate rock productions, be they art rock or slickly-produced pop singers." Graham claims that since the late 1970s, "art rock has remained at the fringes and become one of many venerable styles...that attracts small numbers of avid fans, and continues to be perpetuated by a combination of some of the original artists and new generations of players."

Guitarist John Cipollina from Quicksilver Messenger Service

In the UK in 1966, the Scottish band 1-2-3, later renamed Clouds, began experimenting with song structures, improvisation, and multi-layered arrangements which led directly to later bands like Yes, King Crimson, and The Nice.

In the US, a number of late-1960s bands experimented with "long compositions", with each band "trying to out-psychedelic the other" with unusual sonic experiments. "The Golden Age Of Art Rock" lectures state that the "piece that caused the explosion of Art Rock more than any other, starting in 1968" was Iron Butterfly's "In-A-Gadda-Da-Vida". In response, many other bands sought to emulate this art rock style, such as "Jefferson Airplane, The Steve Miller Band, The Grateful Dead, Quicksilver Messenger Service, H.P. Lovecraft and It's A Beautiful Day." The Steve Miller Band "had quite a lot of Art Rock in the early albums." The lecture argues that the "two main long pieces" by The Doors ("The End" and "When The Music's Over") are "good examples of Art Rock."

However, in the 1970s, US rock music "moved away from Art Rock", as southern rock bands became popular. Art rock reached its commercial height with the popularity of the aforementioned progressive rock bands, such as King Crimson, Yes, Rush, Genesis, and Pink Floyd. After punk rock put DIY simplicity back in style, and as openly progressive bands drifted toward the mainstream with hit singles and more commercial productions, their art rock designation fell away. Brian Eno has been called the "experimental end of the [art rock] spectrum" for his early 1970s recordings.

1980s–1990s

Laurie Anderson, a singer, performance artist, and experimental musician, performing in 2007

In the 1980s explosion of "New Wave Music, Art Rock faded away to the background", with the exception of "Laurie Anderson, who had solo albums like Mr. Heartbreak and Strange Angels even up into the Nineties." Anderson's experimental performance art included performances with her homemade "tape-bow violin" which has a tape head in place of strings, and a strip of magnetic tape in place of the hairs on a bow. Since the later 1990s Anderson collaborated with Lou Reed on a number of recordings, such as "Call On Me" from Reed's collaborative project, The Raven.

Kate Bush used harpsichords and suite-based albums, and lyrics based on literature

However, "new wave" was a marketing phrase used in promoting music of various forms in the United States after the rise of punk, rather than an easily defined genre in itself. Since new wave and post-punk acts ranged from old fashioned rock 'n roll to dance-oriented "new romantic" synth pop to experimental collisions of genres and mergers of various forms of international pop music, the term "art rock" may have been applied, depending on the writer's opinion, to a large variety of music produced during the 1980s. For example, Kate Bush found mass popularity during the new wave period with music dominated by keyboards and even harpsichord accompaniments reminiscent of classical music. Her album Hounds Of Love had a conceptually structured suite on the B-side (The Ninth Wave), and her lyrics were sometimes based on literary classics. All of these elements are in most definitions of art rock, yet Bush was not marketed as an "art rock" act. In fact, even Laurie Anderson has been categorized as a "new wave" or "alternative rock" act in some reviews.

Anderson provides an example of a tenuous definition because she was also an artist in mediums outside of music, exhibiting her artwork and music primarily in art museums for a decade prior to making any concert tours, singles or albums. While the term "art rock" may suggest a crossover with other forms of art, and while a large number of "art rock" musicians may also be visual or performance artists, Anderson "went pop" only after establishing herself primarily in the art scene, and as such she was more of an outsider to the rock music world than is typical of "art rock" musicians. For instance, Brian Eno also studied art and participated in the avant garde art scene, but he first became known as the keyboard player for Roxy Music.

2000s

틀:Original research In 2000, British rock group Radiohead abandoned their traditional alternative rock sound and instead made an electronic experimental album, Kid A. This is considered to be one of the most significant moves in art rock. In 2004, the phrase "art rock" was used by British writers from music publications such as NME to describe a group of new, mostly "indie" bands influenced by the 1970s/1980s work of artists including David Bowie, David Byrne, Tom Verlaine, Peter Gabriel, Kate Bush, and Brian Eno, and by the UK post-punk scene in general. While other art rock bands such as Deerhoof generally eschew self-conscious descriptions as "art rock", there is also a continuing subcultural movement of underground, sometimes highly uncommercial music with original roots in punk rock, post-punk or the radical avant-garde whose style or philosophy would fall under common definitions of "art rock". Some of these bands may also be described as experimental rock, while the even more abrasive and abstract acts such as Wolf Eyes and Merzbow may be described as noise music. The Rock band The Cars have been described as art rock before and have reunited in 2010 which shows a possible art rock revival. In August 2010, Everything Everything released their studio album Man Alive, which contains a variety of experimental art rock techniques, such as harmonious voices singing to a repeating harpsichord sequence, and use of syncopated rhythms matched with quick, rhythmic vocals.

See also

• Art punk

References

• Rockwell, John. "Art Rock" in Henke, James et al. (Eds.) (1992). The Rolling Stone Illustrated History of Rock and Roll: The Definitive History of the Most Important Artists and Their Music. ISBN 0-679-73728-6.
• Stuessy, Joe. Rock and Roll: Its History and Stylistic Development, 5th ed., Upper Saddle River, New Jersey: Prentice Hall, 2003. ISBN 0-13-099370-0