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psychedelia, moving on to becoming more of a progressive rock, and arena rock band later
in their careers.
The culmination of rock and roll as a socially-unifying force was seen in the rock
festivals of the late '60s, the most famous of which was Woodstock which began as a three-
day arts and music festival and turned into a "happening", as hundreds of thousands of
youthful fans converged on the site.
The music itself broadened past the guitar-bass-drum format; while some bands had
used saxophones and keyboards before, now acts like The Beach Boys and The Beatles (and
others following their lead) experimented with new instruments including wind sections,
string sections, and full orchestration. Many bands moved well beyond three-minute tunes
into new and diverse forms; increasingly sophisticated chord structures, previously limited
to jazz and orchestrated pop music, were heard.
Dabbling heavily in classical, jazz, electronic, and experimental music resulted in what
would be called progressive rock (or, in its German wing, krautrock). Progressive rock
could be lush and beautiful or atonal and dissonant, highly complex or minimalistic,
s ometimes all within the s ame song. At times it was hardly recognizeable as rock at all.
Some notable practitioners include King Crimson, Genesis, Gentle Giant, The Nice, Yes,
Gong, Magma, Can, and Faust.
A second wave of British bands and artists gained great popularity during this period
dominant; these bands typically were more directly steeped in American blues music than
their more pop-oriented predecessors but their performances took a highly amplified, often
spectacular form. These were the bands that were led by the guitar; Cream and Led Zeppelin
were early examples of this blues-rock form and were followed by heavier rock bands
including Black Sabbath and Deep Purple. This style of rock would come to be known as
heavy metal mu s ic .
Text 6. Impressionist Techniques
The Impressionist approach to painting is usually identified with a strong concern for
light in its changing qualities, often with an emphasis on the effects of a particular passage
of time.
In addition to wanting to control the content of paintings, the Academy of Fine Arts
also wanted a say in the techniques used by artists. They wanted mostly somber,
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