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Western Front (World War I)

The Western Front was one of the main theatres of war during the First World War. Following the outbreak of war in August 1914, the German Army opened the Western Front by invading Luxembourg and Belgium, then gaining military control of important industrial regions in France. The German advance was halted with the Battle of the Marne. Following the Race to the Sea, both sides dug in along a meandering line of fortified trenches, stretching from the North Sea to the Swiss frontier with France, the position of which changed little except during early 1917 and again in 1918.

Between 1915 and 1917 there were several offensives along this front. The attacks employed massive artillery bombardments and massed infantry advances. Entrenchments, machine gun emplacements, barbed wire, and artillery repeatedly inflicted severe casualties during attacks and counter-attacks and no significant advances were made. Among the most costly of these offensives were the Battle of Verdun, in 1916, with a combined 700,000 casualties, the Battle of the Somme, also in 1916, with more than a million casualties, and the Battle of Passchendaele, in 1917, with 487,000 casualties.

To break the deadlock of the trench warfare on the Western Front, both sides tried new military technology, including poison gas, aircraft, and tanks. The adoption of better tactics and the cumulative weakening of the armies in the west led to the return of mobility in 1918. The German spring offensive of 1918 was made possible by the Treaty of Brest-Litovsk that ended the war of the Central Powers against Russia and Romania on the Eastern Front. Using short, intense "hurricane" bombardments and infiltration tactics, the German armies moved nearly 60 mi to the west, the deepest advance by either side since 1914, but the result was indecisive.

The unstoppable advance of the Allied armies during the Hundred Days Offensive of 1918 caused a sudden collapse of the German armies and persuaded the German commanders that defeat was inevitable. The German government surrendered in the Armistice of 11 November 1918, and the terms of peace were settled by the Treaty of Versailles in 1919.

War plans – Battle of the Frontiers

The Western Front was the place where the most powerful military forces in Europe, the German and French armies, met and where the First World War was decided. At the outbreak of the war, the German Army, with seven field armies in the west and one in the east, executed a modified version of the Schlieffen Plan, bypassing French defenses along the common border by moving quickly through neutral Belgium, and then turning southwards to attack France and attempt to encircle the French Army and trap it on the German border. Belgian neutrality had been guaranteed by Britain under the Treaty of London, 1839; this caused Britain to join the war at the expiration of its ultimatum at midnight on 4 August. Armies under German generals Alexander von Kluck and Karl von Bülow attacked Belgium on 4 August 1914. Luxembourg had been occupied without opposition on 2 August. The first battle in Belgium was the Battle of Liège, a siege that lasted from 5–16 August. Liège was well fortified and surprised the German Army under Bülow with its level of resistance. German heavy artillery was able to demolish the main forts within a few days. Following the fall of Liège, most of the Belgian field army retreated to Antwerp, leaving the garrison of Namur isolated, with the Belgian capital, Brussels, falling to the Germans on 20 August. Although the German army bypassed Antwerp, it remained a threat to their flank. Another siege followed at Namur, lasting from about 20–23 August.

The French deployed five armies on the frontier. The French Plan XVII was intended to bring about the capture of Alsace–Lorraine. On 7 August, the VII Corps attacked Alsace to capture Mulhouse and Colmar. The main offensive was launched on 14 August with the First and Second Armies attacking toward Sarrebourg-Morhange in Lorraine. In keeping with the Schlieffen Plan, the Germans withdrew slowly while inflicting severe losses upon the French. The French Third and Fourth Armies advanced toward the Saar and attempted to capture Saarburg, attacking Briey and Neufchateau but were repulsed. The French VII Corps captured Mulhouse after a brief engagement first on 7 August, and then again on 23 August, but German reserve forces engaged them in the Battle of Mulhouse and forced the French to retreat twice.

The German Army swept through Belgium, executing civilians and razing villages. The application of "collective responsibility" against a civilian population further galvanised the allies. Newspapers condemned the German invasion, violence against civilians and destruction of property, which became known as the "Rape of Belgium." After marching through Belgium, Luxembourg and the Ardennes, the Germans advanced into northern France in late August, where they met the French Army, under Joseph Joffre, and the divisions of the British Expeditionary Force under Field Marshal Sir John French. A series of engagements known as the Battle of the Frontiers ensued, which included the Battle of Charleroi and the Battle of Mons. In the former battle the French Fifth Army was almost destroyed by the German 2nd and 3rd Armies and the latter delayed the German advance by a day. A general Allied retreat followed, resulting in more clashes at the Battle of Le Cateau, the Siege of Maubeuge and the Battle of St. Quentin (also called the First Battle of Guise).

First Battle of the Marne
The German Army came within 70 km of Paris but at the First Battle of the Marne (6–12 September), French and British troops were able to force a German retreat by exploiting a gap which appeared between the 1st and 2nd Armies, ending the German advance into France. The German Army retreated north of the Aisne and dug in there, establishing the beginnings of a static western front that was to last for the next three years. Following this German retirement, the opposing forces made reciprocal outflanking manoeuvres, known as the Race to the Sea and quickly extended their trench systems from the Swiss frontier to the North Sea. The territory occupied by Germany held 64 percent of French pig-iron production, 24 percent of its steel manufacturing and 40 percent of the coal industry – dealing a serious blow to French industry.

On the Entente side (those countries opposing the German alliance), the final lines were occupied with the armies of each nation defending a part of the front. From the coast in the north, the primary forces were from Belgium, the British Empire and then France. Following the Battle of the Yser in October, the Belgian army controlled a 35 km length of West Flanders along the coast, known as the Yser Front, along the Yser and the Ieperlee from Nieuwpoort to Boezinge. Meanwhile, the British Expeditionary Force (BEF) occupied a position on the flank, having occupied a more central position.

First Battle of Ypres
From 19 October until 22 November, the German forces made their final breakthrough attempt of 1914 during the First Battle of Ypres, which ended in a mutually-costly stalemate. After the battle, Erich von Falkenhayn judged that it was no longer possible for Germany to win the war by purely military means and on 18 November 1914 he called for a diplomatic solution. The Chancellor, Theobald von Bethmann Hollweg; Generalfeldmarschall Paul von Hindenburg, commanding Ober Ost (Eastern Front high command); and his deputy, Erich Ludendorff, continued to believe that victory was achievable through decisive battles. During the Lodz offensive in Poland (11–25 November), Falkenhayn hoped that the Russians would be made amenable to peace overtures. In his discussions with Bethmann Hollweg, Falkenhayn viewed Germany and Russia as having no insoluble conflict and that the real enemies of Germany were France and Britain. A peace with only a few annexations of territory also seemed possible with France and that with Russia and France out of the war by negotiated settlements, Germany could concentrate on Britain and fight a long war with the resources of Europe at its disposal. Hindenburg and Ludendorff continued to believe that Russia could be defeated by a series of battles which cumulatively would have a decisive effect, after which Germany could finish off France and Britain.

Trench warfare
Trench warfare in 1914, while not new, quickly improved and provided a very high degree of defense. According to two prominent historians:
 * Trenches were longer, deeper, and better defended by steel, concrete, and barbed wire than ever before. They were far stronger and more effective than chains of forts, for they formed a continuous network, sometimes with four or five parallel lines linked by interfacings. They were dug far below the surface of the earth out of reach of the heaviest artillery.... Grand battles with the old maneuvers were out of the question. Only by bombardment, sapping, and assault could the enemy be shaken, and such operations had to be conducted on an immense scale to produce appreciable results. Indeed, it is questionable whether the German lines in France could ever have been broken if the Germans had not wasted their resources in unsuccessful assaults, and the blockade by sea had not gradually cut off their supplies. In such warfare no single general could strike a blow that would make him immortal; the "glory of fighting" sank down into the dirt and mire of trenches and dugouts.

1915
Between the coast and the Vosges was a westward bulge in the trench line, named the Noyon salient for the captured French town at the maximum point of advance near Compiègne. Joffre's plan for 1915 was to attack the salient on both flanks to cut it off. The Fourth Army had attacked in Champagne from 20 December 1914 – 17 March 1915 but the French were not able to attack in Artois at the same time. The Tenth Army formed the northern attack force and was to attack eastwards into the Douai plain across a 16 km front between Loos and Arras. On 10 March, as part of the larger offensive in the Artois region, the British Army fought the Battle of Neuve Chapelle to capture Aubers Ridge. The assault was made by four divisions along a 2 mi front. Preceded by a surprise bombardment lasting only 35 minutes, the initial assault made rapid progress and the village was captured within four hours. The advance then slowed because of supply and communication difficulties. The Germans brought up reserves and counterattacked, forestalling the attempt to capture the ridge. Since the British had used about one-third of their supply of artillery ammunition, General Sir John French blamed the failure on the Shell Crisis of 1915, despite the early success.

Gas warfare
All sides had signed the Hague Conventions of 1899 and 1907, which prohibited the use of chemical weapons in warfare. In 1914, there had been small-scale attempts by both the French and Germans to use various tear gases, which were not strictly prohibited by the early treaties but which were also ineffective. The first use of more lethal chemical weapons on the Western Front was against the French near the Belgian town of Ypres. The Germans had already deployed gas against the Russians in the east at the Battle of Humin-Bolimów.

Despite the German plans to maintain the stalemate with the French and British, Albrecht, Duke of Württemberg, commander of the 4th Army planned an offensive at Ypres, site of the First Battle of Ypres in November 1914. The Second Battle of Ypres, April 1915, was intended to divert attention from offensives in the Eastern Front and disrupt Franco-British planning. After a two-day bombardment, the Germans released a lethal cloud of 168 LT of chlorine onto the battlefield. Though primarily a powerful irritant, it can asphyxiate in high concentrations or prolonged exposure. Being heavier than air, the gas crept across no man's land and drifted into the French trenches. The green-yellow cloud started killing some defenders and those in the rear fled in panic, creating an undefended 6 km gap in the Allied line. The Germans were unprepared for the level of their success and lacked sufficient reserves to exploit the opening. Canadian troops on the right drew back their left flank and halted the German advance. The gas attack was repeated two days later and caused a 5 km withdrawal of the Franco-British line but the opportunity had been lost.

The success of this attack would not be repeated, as the Allies countered by introducing gas masks and other countermeasures. An example of the success of these measures came a year later, on 27 April in the Gas attacks at Hulluch 25 mi to the south of Ypres, where the 16th (Irish) Division withstood several German gas attacks. The British retaliated, developing their own chlorine gas and using it at the Battle of Loos in September 1915. Fickle winds and inexperience led to more British casualties from the gas than German. French, British and German forces all escalated the use of gas attacks through the rest of the war, developing the more deadly phosgene gas in 1915, then the infamous mustard gas in 1917, which could linger for days and could kill slowly and painfully. Countermeasures also improved and the stalemate continued.

Air warfare
Specialised aeroplanes for aerial combat were introduced in 1915. Aircraft were already in use for scouting and on 1 April, the French pilot Roland Garros became the first to shoot down an enemy aircraft by using a machine-gun that shot forward through the propeller blades. This was achieved by crudely reinforcing the blades to deflect bullets. Several weeks later Garros force-landed behind German lines. His aeroplane was captured and sent to Dutch engineer Anthony Fokker, who soon produced a significant improvement, the interrupter gear, in which the machine gun is synchronised with the propeller so it fires in the intervals when the blades of the propeller are out of the line of fire. This advance was quickly ushered into service, in the Fokker E.I (Eindecker, or monoplane, Mark 1), the first single seat fighter aircraft to combine a reasonable maximum speed with an effective armament. Max Immelmann scored the first confirmed kill in an Eindecker on 1 August. Both sides developed improved weapons, engines, airframes and materials, until the end of the war. It also inaugurated the cult of the ace, the most famous being Manfred von Richthofen (the Red Baron). Contrary to the myth, anti-aircraft fire claimed more kills than fighters.

Spring offensive
The final Entente offensive of the spring was the Second Battle of Artois, an offensive to capture Vimy Ridge and advance into the Douai plain. The French Tenth Army attacked on 9 May after a six-day bombardment and advanced 3 mi to capture Vimy Ridge. German reinforcements counter-attacked and pushed the French back towards their starting points because French reserves had been held back and the success of the attack had come as a surprise. By 15 May the advance had been stopped, although the fighting continued until 18 June. In May the German Army captured a French document at La Ville-aux-Bois describing a new system of defence. Rather than relying on a heavily fortified front line, the defence was to be arranged in a series of echelons. The front line would be a thinly manned series of outposts, reinforced by a series of strongpoints and a sheltered reserve. If a slope was available, troops were deployed along the rear side for protection. The defence became fully integrated with command of artillery at the divisional level. Members of the German high command viewed this new scheme with some favour and it later became the basis of an elastic defence in depth doctrine against Entente attacks.

During the autumn of 1915, the "Fokker Scourge" began to have an effect on the battlefront as Allied reconnaissance aircraft were nearly driven from the skies. These reconnaissance aircraft were used to direct gunnery and photograph enemy fortifications but now the Allies were nearly blinded by German fighters. However, the impact of German air superiority was diminished by their primarily defensive doctrine in which they tended to remain over their own lines, rather than fighting over Allied held territory.

Autumn offensive
In September 1915 the Entente allies launched another offensive, with the French Third Battle of Artois, Second Battle of Champagne and the British at Loos. The French had spent the summer preparing for this action, with the British assuming control of more of the front to release French troops for the attack. The bombardment, which had been carefully targeted by means of aerial photography, began on 22 September. The main French assault was launched on 25 September and, at first, made good progress in spite of surviving wire entanglements and machine gun posts. Rather than retreating, the Germans adopted a new defence-in-depth scheme that consisted of a series of defensive zones and positions with a depth of up to 5 mi.

On 25 September, the British began the Battle of Loos, part of the Third Battle of Artois, which was meant to supplement the larger Champagne attack. The attack was preceded by a four-day artillery bombardment of 250,000 shells and a release of 5,100 cylinders of chlorine gas. The attack involved two corps in the main assault and two corps performing diversionary attacks at Ypres. The British suffered heavy losses, especially due to machine gun fire during the attack and made only limited gains before they ran out of shells. A renewal of the attack on 13 October fared little better. In December, French was replaced by General Douglas Haig as commander of the British forces.

1916
Falkenhayn believed that a breakthrough might no longer be possible and instead focused on forcing a French defeat by inflicting massive casualties. His new goal was to "bleed France white." As such, he adopted two new strategies. The first was the use of unrestricted submarine warfare to cut off Allied supplies arriving from overseas. The second would be attacks against the French army intended to inflict maximum casualties; Falkenhayn planned to attack a position from which the French could not retreat, for reasons of strategy and national pride and thus trap the French. The town of Verdun was chosen for this because it was an important stronghold, surrounded by a ring of forts, that lay near the German lines and because it guarded the direct route to Paris.

Falkenhayn limited the size of the front to 3 – to concentrate artillery firepower and to prevent a breakthrough from a counter-offensive. He also kept tight control of the main reserve, feeding in just enough troops to keep the battle going. In preparation for their attack, the Germans had amassed a concentration of aircraft near the fortress. In the opening phase, they swept the air space of French aircraft, which allowed German artillery-observation aircraft and bombers to operate without interference. In May, the French countered by deploying escadrilles de chasse with superior Nieuport fighters and the air over Verdun turned into a battlefield as both sides fought for air superiority.

Battle of Verdun
The Battle of Verdun began on 21 February 1916 after a nine-day delay due to snow and blizzards. After a massive eight-hour artillery bombardment, the Germans did not expect much resistance as they slowly advanced on Verdun and its forts. Sporadic French resistance was encountered. The Germans took Fort Douaumont and then reinforcements halted the German advance by 28 February.

The Germans turned their focus to Le Mort Homme on the west bank of the Meuse which blocked the route to French artillery emplacements, from which the French fired across the river. After some of the most intense fighting of the campaign, the hill was taken by the Germans in late May. After a change in French command at Verdun from the defensive-minded Philippe Pétain to the offensive-minded Robert Nivelle, the French attempted to re-capture Fort Douaumont on 22 May but were easily repulsed. The Germans captured Fort Vaux on 7 June and with the aid of diphosgene gas, came within 1 km of the last ridge before Verdun before being contained on 23 June.

Over the summer, the French slowly advanced. With the development of the rolling barrage, the French recaptured Fort Vaux in November and by December 1916 they had pushed the Germans back 1.3 mi from Fort Douaumont, in the process rotating 42 divisions through the battle. The Battle of Verdun—also known as the 'Mincing Machine of Verdun' or 'Meuse Mill'—became a symbol of French determination and self-sacrifice.

Battle of the Somme
In the spring, Allied commanders had been concerned about the ability of the French Army to withstand the enormous losses at Verdun. The original plans for an attack around the River Somme were modified to let the British make the main effort. This would serve to relieve pressure on the French, as well as the Russians who had also suffered great losses. On 1 July, after a week of heavy rain, British divisions in Picardy began the Battle of the Somme with the Battle of Albert, supported by five French divisions on their right flank. The attack had been preceded by seven days of heavy artillery bombardment. The experienced French forces were successful in advancing but the British artillery cover had neither blasted away barbed wire, nor destroyed German trenches as effectively as was planned. They suffered the greatest number of casualties (killed, wounded and missing) in a single day in the history of the British Army, about 57,000.

The Verdun lesson learnt, the Allies' tactical aim became the achievement of air superiority and until September, German aircraft were swept from the skies over the Somme. The success of the Allied air offensive caused a reorganisation of the German air arm and both sides began using large formations of aircraft rather than relying on individual combat. After regrouping, the battle continued throughout July and August, with some success for the British despite the reinforcement of the German lines. By August, General Haig had concluded that a breakthrough was unlikely and instead, switched tactics to a series of small unit actions. The effect was to straighten out the front line, which was thought necessary in preparation for a massive artillery bombardment with a major push.

The final phase of the battle of the Somme saw the first use of the tank on the battlefield. The Allies prepared an attack that would involve 13 British and Imperial divisions and four French corps. The attack made early progress, advancing 3500 – in places but the tanks had little effect due to their lack of numbers and mechanical unreliability. The final phase of the battle took place in October and early November, again producing limited gains with heavy loss of life. All told, the Somme battle had made penetrations of only 8 km and failed to reach the original objectives. The British had suffered about 420,000 casualties and the French around 200,000. It is estimated that the Germans lost 465,000, although this figure is controversial.

The Somme led directly to major new developments in infantry organisation and tactics; despite the terrible losses of 1 July, some divisions had managed to achieve their objectives with minimal casualties. In examining the reasons behind losses and achievements, once the British war economy produced sufficient equipment and weapons, the army made the platoon the basic tactical unit, similar to the French and German armies. At the time of the Somme, British senior commanders insisted that the company (120 men) was the smallest unit of manoeuvre; less than a year later, the section of ten men would be so.

Hindenburg line
In August 1916 the German leadership along the Western Front had changed as Falkenhayn resigned and was replaced by Hindenburg and Ludendorff. The new leaders soon recognised that the battles of Verdun and the Somme had depleted the offensive capabilities of the German Army. They decided that the German Army in the west would go over to the strategic defensive for most of 1917, while the Central powers would attack elsewhere.

During the Somme battle and through the winter months, the Germans created a fortification behind the Noyon Salient that would be called the Hindenburg Line, using the defensive principles elaborated since the defensive battles of 1915, including the use of Eingreif divisions. This was intended to shorten the German front, freeing 10 divisions for other duties. This line of fortifications ran from Arras south to St Quentin and shortened the front by about 30 mi. British long-range reconnaissance aircraft first spotted the construction of the Hindenburg Line in November 1916.

1917
The Hindenburg Line was built between 2 mi and 30 mi behind the German front line. On 25 February the German armies west of the line began Operation Alberich a withdrawal to the line and completed the retirement on 5 April, leaving a supply desert of scorched earth to be occupied by the Allies. This withdrawal negated the French strategy of attacking both flanks of the Noyon salient, as it no longer existed. The British continued offensive operations as the War Office claimed, with some justification, that this withdrawal resulted from the casualties the Germans received during the Battles of the Somme and Verdun, despite the Allies suffering greater losses.

On 6 April the United States declared war on Germany. In early 1915, following the sinking of the RMS Lusitania, Germany had stopped unrestricted submarine warfare in the Atlantic because of concerns of drawing the United States into the conflict. With the growing discontent of the German public due to the food shortages, the government resumed unrestricted submarine warfare in February 1917. They calculated that a successful submarine and warship siege of Britain would force that country out of the war within six months, while American forces would take a year to become a serious factor on the Western Front. The submarine and surface ships had a long period of success before Britain resorted to the convoy system, bringing a large reduction in shipping losses.

By 1917, the size of the British Army on the Western Front had grown to two-thirds of the size of the French force. In April 1917 the BEF began the Battle of Arras. The Canadian Corps and the 5th Division of the First Army, fought the Battle of Vimy Ridge, completing the capture of the ridge and the Third Army to the south achieved the deepest advance since trench warfare began. Later attacks were confronted by German reinforcements defending the area using the lessons learned on the Somme in 1916. British attacks were contained and, according to Gary Sheffield, a greater rate of daily loss was inflicted on the British than in "any other major battle".

During the winter of 1916–1917, German air tactics had been improved, a fighter training school was opened at Valenciennes and better aircraft with twin guns were introduced. The result was higher losses of Allied aircraft, particularly for the British, Portuguese, Belgians and Australians who were struggling with outmoded aircraft, poor training and tactics. The Allied air successes over the Somme were not repeated. During their attack at Arras, the British lost 316 air crews and the Canadians lost 114 compared to 44 lost by the Germans. This became known to the Royal Flying Corps as Bloody April.

Nivelle Offensive
The same month, the French Commander-in-chief, General Robert Nivelle, ordered a new offensive against the German trenches, promising that it would end the war within 48 hours. The 16 April attack, dubbed the Nivelle Offensive (also known as the Second Battle of the Aisne), would be 1.2 million men strong, preceded by a week-long artillery bombardment and accompanied by tanks. The offensive proceeded poorly as the French troops, with the help of two Russian brigades, had to negotiate rough, upward-sloping terrain in extremely bad weather. Planning had been dislocated by the voluntary German withdrawal to the Hindenburg Line. Secrecy had been compromised and German aircraft gained air superiority, making reconnaissance difficult and in places, the creeping barrage moved too fast for the French troops. Within a week the French suffered 120,000 casualties. Despite the casualties and his promise to halt the offensive if it did not produce a breakthrough, Nivelle ordered the attack to continue into May.

On 3 May the weary French 2nd Colonial Division, veterans of the Battle of Verdun, refused orders, arriving drunk and without their weapons. Lacking the means to punish an entire division, its officers did not immediately implement harsh measures against the mutineers. Mutinies occurred in 54 French divisions and 20,000 men deserted. Other Allied forces attacked but suffered massive casualties. Appeals to patriotism and duty followed, as did mass arrests and trials. The French soldiers returned to defend their trenches but refused to participate in further offensive action. On 15 May Nivelle was removed from command, replaced by Pétain who immediately stopped the offensive. The French would go on the defensive for the following months to avoid high casualties and to restore confidence in the French High Command, while the British assumed greater responsibility.

American Expeditionary Force
On 25 June the first US troops began to arrive in France, forming the American Expeditionary Force. However, the American units did not enter the trenches in divisional strength until October. The incoming troops required training and equipment before they could join in the effort, and for several months American units were relegated to support efforts. Despite this, however, their presence provided a much-needed boost to Allied morale, with the promise of further reinforcements that could tip the manpower balance towards the Allies.

Flanders offensive
In June, the British launched an offensive in Flanders, in part to take the pressure off the French armies on the Aisne, after the French part of the Nivelle Offensive failed to achieve the strategic victory that had been planned and French troops began to mutiny. The offensive began on 7 June, with a British attack on Messines Ridge, south of Ypres, to retake the ground lost in the First and Second battles in 1914. Since 1915 specialist Royal Engineer tunnelling companies had been digging tunnels under the ridge, and about 500 t of explosives had been planted in 21 mines under the German defences. Following several weeks of bombardment, the explosives in 19 of these mines were detonated, killing up to 7,000 German troops. The infantry advance that followed relied on three creeping barrages which the British infantry followed to capture the plateau and the east side of the ridge in one day. German counter-attacks were defeated and the southern flank of the Gheluvelt plateau was protected from German observation.

On 11 July 1917, during Unternehmen Strandfest (Operation Beachparty) at Nieuport on the coast, the Germans introduced a new weapon into the war when they fired a powerful blistering agent Sulfur mustard (Yellow Cross) gas. The artillery deployment allowed heavy concentrations of the gas to be used on selected targets. Mustard gas was persistent and could contaminate an area for days, denying it to the British, an additional demoralising factor. The Allies increased production of gas for chemical warfare but took until late 1918 to copy the Germans and begin using mustard gas.

From 31 July to 10 November the Third Battle of Ypres included the First Battle of Passchendaele and culminated in the Second Battle of Passchendaele. The battle had the original aim of capturing the ridges east of Ypres then advancing to Roulers and Thourout to close the main rail line supplying the German garrisons on the Western front north of Ypres. If successful the northern armies were then to capture the German submarine bases on the Belgian coast. It was later restricted to advancing the British Army onto the ridges around Ypres, as the unusually wet weather slowed British progress. The Canadian Corps relieved the II ANZAC Corps and took the village of Passchendaele on 6 November, despite rain, mud and many casualties. The offensive was costly in manpower for both sides for relatively little gain of ground against determined German resistance but the ground captured was of great tactical importance. In the drier periods, the British advance was inexorable and during the unusually wet August and in the Autumn rains that began in early October, the Germans achieved only costly defensive successes, which led the German commanders in early October to begin preparations for a general retreat. Both sides lost a combined total of over a half million men during this offensive. The battle has become a byword among some British revisionist historians for bloody and futile slaughter, whilst the Germans called Passchendaele "the greatest martyrdom of the war."

Battle of Cambrai
On 20 November the British launched the first massed tank attack and the first attack using predicted artillery-fire (aiming artillery without firing the guns to obtain target data) at the Battle of Cambrai. The Allies attacked with 324 tanks (with one-third held in reserve) and twelve divisions, advancing behind a hurricane bombardment, against two German divisions. The machines carried fascines on their fronts to bridge trenches and the 4 m German tank traps. Special "grapnel tanks" towed hooks to pull away the German barbed wire. The attack was a great success for the British, who penetrated further in six hours than at the Third Ypres in four months, at a cost of only 4,000 British casualties. The advance produced an awkward salient and a surprise German counter-offensive began on 30 November, which drove back the British in the south and failed in the north. Despite the reversal, the attack was seen as a success by the Allies, proving that tanks could overcome trench defences. The Germans realised that the use of tanks by the Allies posed a new threat to any defensive strategy they might mount. The battle had also seen the first mass use of German Stosstruppen on the Western front in the attack, who used infantry infiltration tactics to penetrate British defences, bypassing resistance and quickly advancing into the British rear.

1918
Following the successful Allied attack and penetration of the German defences at Cambrai, Ludendorff and Hindenburg determined that the only opportunity for German victory lay in a decisive attack along the Western front during the spring, before American manpower became overwhelming. On 3 March 1918, the Treaty of Brest-Litovsk was signed and Russia withdrew from the war. This would now have a dramatic effect on the conflict as 33 divisions were released from the Eastern Front for deployment to the west. The Germans occupied almost as much Russian territory under the provisions of the Treaty of Brest-Litovsk as they did in the Second World War but this considerably restricted their troop redeployment. The Germans achieved an advantage of 192 divisions in the west to the 178 Allied divisions, which allowed Germany to pull veteran units from the line and retrain them as Stosstruppen (40 infantry and 3 cavalry divisions were retained for German occupation duties in the east).

The Allies lacked unity of command and suffered from morale and manpower problems, the British and French armies were severely depleted and not in a position to attack in the first half of the year, while the majority of the newly arrived American troops were still training, with just six complete divisions in the line. Ludendorff decided on an offensive strategy beginning with a big attack against the British on the Somme, to separate them from the French and drive them back to the channel ports. The attack would combine the new storm troop tactics with over 700 aircraft, tanks and a carefully planned artillery barrage that would include gas attacks.

German spring offensives
Operation Michael, the first of the German spring offensives, very nearly succeeded in driving the Allied armies apart, advancing to within shelling distance of Paris for the first time since 1914. As a result of the battle, the Allies agreed on unity of command. General Ferdinand Foch was appointed commander of all Allied forces in France. The unified Allies were better able to respond to each of the German drives and the offensive turned into a battle of attrition. In May, the American divisions also began to play an increasing role, winning their first victory in the Battle of Cantigny. By summer, between 250,000 and 300,000 American soldiers were arriving every month. A total of 2.1 million American troops would be deployed on this front before the war came to an end. The rapidly increasing American presence served as a counter for the large numbers of redeployed German forces.

Allied counter-offensives
In July, Foch began the Second Battle of the Marne, a counter-offensive against the Marne salient which was eliminated by August. The Battle of Amiens began two days later, with Franco-British forces spearheaded by Australian and Canadian troops, along with 600 tanks and 800 aircraft. Hindenburg named 8 August as the "Black Day of the German army." The Italian 2nd Corps, commanded by General Alberico Albricci, also participated in the operations around Reims. German manpower had been severely depleted after four years of war and its economy and society were under great internal strain. The Allies fielded 216 divisions against 197 German divisions. The Hundred Days Offensive beginning in August proved the final straw and following this string of military defeats, German troops began to surrender in large numbers. As the Allied forces advanced, Prince Maximilian of Baden was appointed as Chancellor of Germany in October to negotiate an armistice. Ludendorff was forced out and fled to Sweden. The German retreat continued and the German Revolution put a new government in power. The Armistice of Compiègne was quickly signed, stopping hostilities on the Western Front on 11 November 1918, later known as Armistice Day. The German Imperial Monarchy collapsed when General Groener, the successor to Ludendorff, backed the moderate Social Democratic Government under Friedrich Ebert, to forestall a revolution like those in Russia the previous year.

Aftermath
The war along the Western Front led the German government and its allies to sue for peace in spite of German success elsewhere. As a result, the terms of the peace were dictated by France, Britain and the United States, during the 1919 Paris Peace Conference. The result was the Treaty of Versailles, signed in June 1919 by a delegation of the new German government. The terms of the treaty constrained Germany as an economic and military power. The Versailles treaty returned the border provinces of Alsace-Lorraine to France, thus limiting the quantity of coal available to German industry. The Saar, which formed the west bank of the Rhine, would be demilitarized and controlled by Britain and France, while the Kiel Canal opened to international traffic. The treaty also drastically reshaped Eastern Europe. It severely limited the German armed forces by restricting the size of the army to 100,000 and prohibiting a navy or air force. The navy was sailed to Scapa Flow under the terms of surrender but was later scuttled as a reaction to the treaty.

Casualties
The war in the trenches of the Western Front left tens of thousands of maimed soldiers and war widows. The unprecedented loss of life had a lasting effect on popular attitudes toward war, resulting later in an Allied reluctance to pursue an aggressive policy toward Adolf Hitler. Belgium suffered 30,000 civilian dead and France 40,000 (including 3,000 merchant sailors). The British lost 16,829 civilian dead; 1,260 civilians were killed in air and naval attacks, 908 civilians were killed at sea and there were 14,661 merchant marine deaths. Another 62,000 Belgian, 107,000 British and 300,000 French civilians died due to war-related causes.

Economic costs
Germany in 1919 was bankrupt, the people living in a state of semi-starvation and having no commerce with the remainder of the world. The Allies occupied the Rhine cities of Cologne, Koblenz and Mainz, with restoration dependent on payment of reparations. In Germany a Stab-in-the-back myth (Dolchstoßlegende) was propagated by Hindenburg, Ludendorff and other defeated generals, that the defeat was not the fault of the 'good core' of the army but due to certain left-wing groups within Germany who signed a disastrous armistice; this would later be exploited by nationalists and the Nazi party propaganda to excuse the overthrow of the Weimar Republic in 1930 and the imposition of the Nazi dictatorship after March 1933.

France suffered more casualties relative to its population than any other great power and the industrial north-east of the country was devastated by the war. The provinces overrun by Germany had produced 40 percent of French coal and 58 percent of its steel output. Once it was clear that Germany was going to be defeated, Ludendorff had ordered the destruction of the mines in France and Belgium. His goal was to cripple the industries of Germany's main European rival. To prevent similar German attacks in the future, France later built a massive series of fortifications along the German border known as the Maginot Line.

Books

 * argues that the extremely high casualty rate in the first month of fighting permanently transformed France.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Western Front (World War I)


text:
Progressive rock

Progressive rock (shortened as prog rock or simply prog) is a broad genre of rock music that primarily developed in the United Kingdom through the mid- to late 1960s, peaking in the early 1970s. Initially termed "progressive pop", the style was an emergence of psychedelic bands who abandoned standard pop traditions in favour of instrumentation and compositional techniques more frequently associated with jazz, folk, or classical music. Additional elements contributed to its "progressive" label: lyrics were more poetic, technology was harnessed for new sounds, music approached the condition of "art", and the studio, rather than the stage, became the focus of musical activity, which often involved creating music for listening rather than dancing.

Progressive rock is based on fusions of styles, approaches and genres, involving a continuous move between formalism and eclecticism. Due to its historical reception, the scope of progressive rock is sometimes limited to a stereotype of long solos, long albums, fantasy lyrics, grandiose stage sets and costumes, and an obsessive dedication to technical skill. While the genre is often cited for its merging of high culture and low culture, few artists incorporated literal classical themes in their work to any great degree, and only a handful of groups, such as Emerson, Lake & Palmer and Renaissance, purposely emulated or referenced classical music.

The genre coincided with the mid-1960s economic boom that allowed record labels to allocate more creative control to their artists, as well as the new journalistic division between "pop" and "rock" that lent generic significance to both terms. It saw a high level of popularity in the early-to-mid-1970s, but faded soon after. Conventional wisdom holds that the rise of punk rock caused this, but several more factors contributed to the decline. Music critics, who often labelled the concepts as "pretentious" and the sounds as "pompous" and "overblown", tended to be hostile towards the genre or to completely ignore it. After the late 1970s, progressive rock fragmented in numerous forms. Some bands achieved commercial success well into the 1980s (albeit with changed lineups and more compact song structures) or crossed into symphonic pop, arena rock, or new wave.

Early groups who exhibited progressive features are retroactively described as "proto-prog". The Canterbury scene, originating in the late 1960s, denotes a subset of progressive rock bands who emphasised the use of wind instruments, complex chord changes and long improvisations. Rock in Opposition, from the late 1970s, was more avant-garde, and when combined with the Canterbury style, created avant-prog. In the 1980s, a new subgenre, neo-prog, enjoyed some commercial success, although it was also accused of being derivative and lacking in innovation. Post-progressive draws upon newer developments in popular music and the avant-garde since the mid-1970s.

Scope and related terms
The term "progressive rock" is synonymous with "art rock", "classical rock" (not to be confused with classic rock), and "symphonic rock". Historically, "art rock" has been used to describe at least two related, but distinct, types of rock music. The first is progressive rock as it is generally understood, while the second usage refers to groups who rejected psychedelia and the hippie counterculture in favour of a modernist, avant-garde approach. Similarities between the two terms are that they both describe a mostly British attempt to elevate rock music to new levels of artistic credibility. However, art rock is more likely to have experimental or avant-garde influences. "Prog" was devised in the 1990s as a shorthand term, but later became a transferable adjective, also suggesting a wider palette than that drawn on by the most popular 1970s bands.

Progressive rock is varied and is based on fusions of styles, approaches, and genres, tapping into broader cultural resonances that connect to avant-garde art, classical music and folk music, performance and the moving image. Although a unidirectional English "progressive" style emerged in the late 1960s, by 1967, progressive rock had come to constitute a diversity of loosely associated style codes. When the "progressive" label arrived, the music was dubbed "progressive pop" before it was called "progressive rock", with the term "progressive" referring to the wide range of attempts to break with standard pop music formula. A number of additional factors contributed to the acquired "progressive" label: lyrics were more poetic; technology was harnessed for new sounds; music approached the condition of "art"; some harmonic language was imported from jazz and 19th-century classical music; the album format overtook singles; and the studio, rather than the stage, became the focus of musical activity, which often involved creating music for listening, not dancing.

Critics of the genre often limit its scope to a stereotype of long solos, overlong albums, fantasy lyrics, grandiose stage sets and costumes, and an obsessive dedication to technical skill. While progressive rock is often cited for its merging of high culture and low culture, few artists incorporated literal classical themes in their work to any great degree, and only a handful of groups purposely emulated or referenced classical music. Writer Emily Robinson says that the narrowed definition of "progressive rock" was a measure against the term's loose application in the late 1960s, when it was "applied to everyone from Bob Dylan to the Rolling Stones". Debate over the genre's criterion continued to the 2010s, particularly on Internet forums dedicated to prog.

According to musicologists Paul Hegarty and Martin Halliwell, Bill Martin and Edward Macan authored major books about progressive rock while "effectively accept[ing] the characterization of progressive rock offered by its critics. ... they each do so largely unconsciously." Academic John S. Cotner contests Macan's view that progressive rock cannot exist without the continuous and overt assimilation of classical music into rock. Author Kevin Holm-Hudson agrees that "progressive rock is a style far more diverse than what is heard from its mainstream groups and what is implied by unsympathetic critics."

Relation to art and social theories
In early references to the music, "progressive" was partly related to progressive politics, but those connotations were lost during the 1970s. On "progressive music", Holm-Hudson writes that it "moves continuously between explicit and implicit references to genres and strategies derived not only from European art music, but other cultural domains (such as East Indian, Celtic, folk, and African) and hence involves a continuous aesthetic movement between formalism and eclecticism". Cotner also says that progressive rock incorporates both formal and eclectic elements, "It consists of a combination of factors – some of them intramusical ('within'), others extramusical or social ('without')."

One way of conceptualising rock and roll in relation to "progressive music" is that progressive music pushed the genre into greater complexity while retracing the roots of romantic and classical music. Sociologist Paul Willis believes: "We must never be in doubt that 'progressive' music followed rock 'n' roll, and that it could not have been any other way. We can see rock 'n' roll as a deconstruction and 'progressive' music as a reconstruction." Author Will Romano states that "rock itself can be interpreted as a progressive idea ... Ironically, and quite paradoxically, 'progressive rock', the classic era of the late 1960s through the mid- and late 1970s, introduces not only the explosive and exploratory sounds of technology ... but traditional music forms (classical and European folk) and (often) a pastiche compositional style and artificial constructs (concept albums) which suggests postmodernism."

Background and roots
In 1966, the level of social and artistic correspondence among British and American rock musicians dramatically accelerated for bands like the Beatles, the Beach Boys and the Byrds who fused elements of cultivated music with the vernacular traditions of rock. Progressive rock was predicated on the "progressive" pop groups from the 1960s who combined rock and roll with various other music styles such as Indian ragas, oriental melodies and Gregorian chants, like the Beatles and the Yardbirds. The Beatles' Paul McCartney said in 1967: "we [the band] got a bit bored with 12 bars all the time, so we tried to get into something else. Then came Dylan, the Who, and the Beach Boys. ... We're all trying to do vaguely the same kind of thing." Rock music started to take itself seriously, paralleling earlier attempts in jazz (as swing gave way to bop, a move which did not succeed with audiences). In this period, the popular song began signalling a new possible means of expression that went beyond the three-minute love song, leading to an intersection between the "underground" and the "establishment" for listening publics.

Hegarty and Halliwell identify the Beatles, the Beach Boys, the Doors, the Pretty Things, the Zombies, the Byrds, the Grateful Dead and Pink Floyd "not merely as precursors of progressive rock but as essential developments of progressiveness in its early days". According to musicologist Walter Everett, the Beatles' "experimental timbres, rhythms, tonal structures, and poetic texts" on their albums Rubber Soul (1965) and Revolver (1966) "encouraged a legion of young bands that were to create progressive rock in the early 1970s". Dylan's poetry, the Mothers of Invention's album Freak Out! (1966) and the Beatles' Sgt. Pepper's Lonely Hearts Club Band (1967) were all important in progressive rock's development. The productions of Phil Spector were key influences, as they introduced the possibility of using the recording studio to create music that otherwise could never be achieved. The same is said for the Beach Boys' Pet Sounds (1966), which Brian Wilson intended as an answer to Rubber Soul and which in turn influenced the Beatles when they made Sgt. Pepper.

Dylan introduced a literary element to rock through his fascination with the Surrealists and the French Symbolists, and his immersion in the New York City art scene of the early 1960s. The trend of bands with names drawn from literature, such as the Doors, Steppenwolf and the Ides of March, were a further sign of rock music aligning itself with high culture. Dylan also led the way in blending rock with folk music styles. This was followed by folk rock groups such as the Byrds, who based their initial sound on that of the Beatles. In turn, the Byrds' vocal harmonies inspired those of Yes, and British folk rock bands like Fairport Convention, who emphasised instrumental virtuosity. Some of these artists, such as the Incredible String Band and Shirley and Dolly Collins, would prove influential through their use of instruments borrowed from world music and early music.

Pet Sounds and Sgt. Pepper
Pet Sounds and Sgt. Pepper, with their lyrical unity, extended structure, complexity, eclecticism, experimentalism, and influences derived from classical music forms, are largely viewed as beginnings in the progressive rock genre and as turning points wherein rock, which previously had been considered dance music, became music that was made for listening to. Between Pet Sounds and Sgt. Pepper, the Beach Boys released the single "Good Vibrations" (1966), dubbed a "pocket symphony" by Derek Taylor, the band's publicist. The song contained an eclectic array of exotic instruments and several disjunctive key and modal shifts. Scott Interrante of Popmatters wrote that its influence on progressive rock and the psychedelic movement "can't be overstated". Martin likened the song to the Beatles' "A Day in the Life" from Sgt. Pepper, in that they showcase "the same reasons why much progressive rock is difficult to dance to".

Although Sgt. Pepper was preceded by several albums that had begun to bridge the line between "disposable" pop and "serious" rock, it successfully gave an established "commercial" voice to an alternative youth culture and marked the point at which the LP record emerged as a creative format whose importance was equal to or greater than that of the single. Bill Bruford, a veteran of several progressive rock bands, said that Sgt. Pepper transformed both musicians' ideas of what was possible and audiences' ideas of what was acceptable in music. He believed that: "Without the Beatles, or someone else who had done what the Beatles did, it is fair to assume that there would have been no progressive rock." In the aftermath of Sgt. Pepper, magazines such as Melody Maker drew a sharp line between "pop" and "rock", thus eliminating the "roll" from "rock and roll" (which now refers to the 1950s style). The only artists who remained "rock" would be those who were considered at the vanguard of compositional forms, far from "radio friendly" standards, as Americans increasingly used the adjective "progressive" for groups like Jethro Tull, Family, East of Eden, Van der Graaf Generator and King Crimson.

Proto-prog and psychedelia
According to AllMusic: "Prog-rock began to emerge out of the British psychedelic scene in 1967, specifically a strain of classical/symphonic rock led by the Nice, Procol Harum, and the Moody Blues (Days of Future Passed)." The availability of newly affordable recording equipment coincided with the rise of a London underground scene at which the psychedelic drug LSD was commonly used. Pink Floyd and Soft Machine functioned as house bands at all-night events at locations such as Middle Earth and the UFO Club, where they experimented with sound textures and long-form songs. Many psychedelic, folk rock and early progressive bands were aided by exposure from BBC Radio 1 DJ John Peel. Jimi Hendrix, who rose to prominence in the London scene and recorded with a band of English musicians, initiated the trend towards guitar virtuosity and eccentricity in rock music. The Scottish band 1-2-3, later renamed Clouds, were formed in 1966 and began performing at London clubs a year later. According to Mojo George Knemeyer: "some claim [that they] had a vital influence on prog-rockers such as Yes, The Nice and Family."

Symphonic rock artists in the late 1960s had some chart success, including the singles "Nights in White Satin" (the Moody Blues, 1967) and "A Whiter Shade of Pale" (Procol Harum, 1967). The Moody Blues established the popularity of symphonic rock when they recorded Days of Future Passed together with the London Festival Orchestra. Classical influences sometimes took the form of pieces adapted from or inspired by classical works, such as Jeff Beck's "Beck's Bolero" and parts of the Nice's Ars Longa Vita Brevis. The latter, along with such tracks as "Rondo" and "America", reflect a greater interest in music that is entirely instrumental. Sgt. Pepper's and Days both represent a growing tendency towards song cycles and suites made up of multiple movements.

Focus incorporated and articulated jazz-style chords, and irregular off-beat drumming into their later rock-based riffs, and several bands that included jazz-style horn sections appeared, including Blood, Sweat & Tears and Chicago. Of these, Martin highlights Chicago in particular for their experimentation with suites and extended compositions, such as the "Ballet for a Girl in Buchannon" on Chicago II. Jazz influences appeared in the music of British bands such as Traffic, Colosseum and If, together with Canterbury scene bands such as Soft Machine and Caravan. Canterbury scene bands emphasised the use of wind instruments, complex chord changes and long improvisations. Martin writes that in 1968, "full-blown progressive rock" was not yet in existence; however, albums were released by three bands who would later come to the forefront of the music: Jethro Tull, Caravan and Soft Machine.

The term "progressive rock", which appeared in the liner notes of Caravan's 1968 self-titled debut LP, came to be applied to bands that used classical music techniques to expand the styles and concepts available to rock music. The Nice, the Moody Blues, Procol Harum and Pink Floyd all contained elements of what is now called progressive rock, but none represented as complete an example of the genre as several bands that formed soon after. Almost all of the genre's major bands, including Jethro Tull, King Crimson, Yes, Genesis, Van der Graaf Generator, ELP, Gentle Giant, Barclay James Harvest and Renaissance, released their debut albums during the years 1968–1970. Most of these were folk-rock albums that gave little indication of what the bands' mature sound would become, but King Crimson's In the Court of the Crimson King (1969) and Yes' self-titled debut album (1969) were early, fully formed examples of the genre.

Peak years (1971–1976)

Most of the genre's major bands released their most critically acclaimed albums during the years 1971–1976. The genre experienced a high degree of commercial success during the early 1970s. Between them, the bands Jethro Tull, ELP, Rush, Yes, and Pink Floyd had four albums that reached number one in the US charts, and sixteen that reached the top ten. Mike Oldfield's Tubular Bells (1973), an excerpt of which was used as the theme for the film The Exorcist, sold 16 million copies.

Progressive rock came to be appreciated overseas, but it mostly remained a European, and especially British, phenomenon. Few American bands engaged in it, and the purest representatives of the genre, such as Starcastle and Happy the Man, remained limited to their own geographic regions. This is at least in part due to music industry differences between the US and Great Britain. Cultural factors were also involved, as US musicians tended to come from a blues background, while Europeans tended to have a foundation in classical music.

North American progressive rock bands and artists often represented hybrid styles such as the complex arrangements of Todd Rundgren's Utopia and Rush, the eclectic psychedelia of Spirit, the hard rock of Captain Beyond, the Southern rock-tinged prog of Kansas, the jazz fusion of Frank Zappa and Return to Forever, and the eclectic fusion of the all-instrumental Dixie Dregs. British progressive rock acts had their greatest US success in the same geographic areas in which British heavy metal bands experienced their greatest popularity. The overlap in audiences led to the success of arena rock bands, such as Boston, Kansas, and Styx, who combined elements of the two styles.

Progressive rock achieved popularity in Continental Europe more quickly than it did in the US. Italy remained generally uninterested in rock music until the strong Italian progressive rock scene developed in the early 1970s. Progressive rock emerged in Yugoslavia in the late 1960s, dominating the Yugoslav rock scene until the late 1970s. Few of the European groups were successful outside of their own countries, with the exceptions of Dutch bands like Focus and Golden Earring who wrote English-language lyrics, and the Italians Le Orme and PFM, whose English lyrics were written by Peter Hammill and Peter Sinfield, respectively. Some European bands played in a style derivative of English bands.

The "Kosmische music" scene in Germany came to be labelled as "krautrock" internationally and is frequently cited as part of the progressive rock genre or an entirely distinct phenomenon. Krautrock bands such as Can, which included two members who had studied under Karlheinz Stockhausen, tended to be more strongly influenced by 20th-century classical music than the British progressive rock bands, whose musical vocabulary leaned more towards the Romantic era. Many of these groups were very influential even among bands that had little enthusiasm for the symphonic variety of progressive rock.

Progressive soul
Concurrently, African American popular musicians drew from progressive rock's conceptual album-oriented approach. This led to a progressive-soul movement in the 1970s that inspired a newfound sophisticated musicality and ambitious lyricism in black pop. Among these musicians were Sly Stone, Stevie Wonder, Marvin Gaye, Curtis Mayfield, and George Clinton. In discussing the development, Bill Martin cites 1970s albums by Wonder (Talking Book, Innervisions, Songs in the Key of Life), War (All Day Music, The World Is a Ghetto, War Live), and the Isley Brothers (3 + 3), while noting that the Who's progressive rock-influenced Who Are You (1978) also drew from the soul variant. Dominic Maxwell of The Times calls Wonder's mid-1970s albums "prog soul of the highest order, pushing the form yet always heartfelt, ambitious and listenable".

Decline and fragmentation
Political and social trends of the late 1970s shifted away from the early 1970s hippie attitudes that had led to the genre's development and popularity. The rise in punk cynicism made the utopian ideals expressed in progressive rock lyrics unfashionable. Virtuosity was rejected, as the expense of purchasing quality instruments and the time investment of learning to play them were seen as barriers to rock's energy and immediacy. There were also changes in the music industry, as record companies disappeared and merged into large media conglomerates. Promoting and developing experimental music was not part of the marketing strategy for these large corporations, who focused their attention on identifying and targeting profitable market niches.

Four of progressive rock's most successful bands – King Crimson, Yes, ELP and Genesis – went on hiatus or experienced major personnel changes during the mid-1970s. Macan notes the September 1974 breakup of King Crimson as particularly significant, calling it the point when "all English bands in the genre should have ceased to exist". More of the major bands, including Van der Graaf Generator, Gentle Giant and U.K., dissolved between 1978 and 1980. Many bands had by the mid-1970s reached the limit of how far they could experiment in a rock context, and fans had wearied of the extended, epic compositions. The sounds of the Hammond, Minimoog and Mellotron had been thoroughly explored, and their use became clichéd. Those bands who continued to record often simplified their sound, and the genre fragmented from the late 1970s onwards. In Robert Fripp's opinion, once "progressive rock" ceased to cover new ground – becoming a set of conventions to be repeated and imitated – the genre's premise had ceased to be "progressive".

The era of record labels investing in their artists, giving them freedom to experiment and limited control over their content and marketing ended with the late 1970s. Corporate artists and repertoire staff exerted an increasing amount of control over the creative process that had previously belonged to the artists, and established acts were pressured to create music with simpler harmony and song structures and fewer changes in meter. A number of symphonic pop bands, such as Supertramp, 10cc, the Alan Parsons Project and the Electric Light Orchestra, brought the orchestral-style arrangements into a context that emphasised pop singles while allowing for occasional instances of exploration. Jethro Tull, Gentle Giant and Pink Floyd opted for a harder sound in the style of arena rock.

Few new progressive rock bands formed during this era, and those who did found that record labels were not interested in signing them. The short-lived supergroup U.K. was a notable exception since its members had established reputations; they produced two albums that were stylistically similar to previous artists and did little to advance the genre. Part of the genre's legacy in this period was its influence on other styles, as several European guitarists brought a progressive rock approach to heavy metal and laid the groundwork for progressive metal. Michael Schenker, of UFO; and Uli Jon Roth, who replaced Schenker in Scorpions, expanded the modal vocabulary available to guitarists. Roth studied classical music with the intent of using the guitar in the way that classical composers used the violin. Finally, the Dutch-born and classically trained Alex and Eddie Van Halen formed Van Halen, featuring ground-breaking whammy-bar, tapping and cross-picking guitar performances that influenced "shred" music in the 1980s.

Commercialisation
Some established artists moved towards music that was simpler and more commercially viable. Arena rock bands like Journey, Kansas, Styx, GTR, ELO and Foreigner either had begun as progressive rock bands or included members with strong ties to the genre. These groups retained some of the song complexity and orchestral-style arrangements, but they moved away from lyrical mysticism in favour of more conventional themes such as relationships. These radio-friendly groups have been called "prog lite". Genesis transformed into a successful pop act, the prog supergroup Asia (consisting of members of Yes, King Crimson, and ELP) scored a number-one album in 1982, and a re-formed Yes released the relatively mainstream 90125 (1983), which yielded their only US number-one single, "Owner of a Lonely Heart". One band who remained successful into the 1980s while maintaining a progressive approach was Pink Floyd, who released The Wall late in 1979. The album, which brought punk anger into progressive rock, was a huge success and was later filmed as Pink Floyd – The Wall.

Post-punk and post-progressive
Punk and progressive rock were not necessarily as opposed as is commonly believed. Both genres reject commercialism, and punk bands did see a need for musical advancement. Author Doyle Green noted that post-punk emerged as "a kind of 'progressive punk. Post-punk artists rejected the high cultural references of 1960s rock artists like the Beatles and Bob Dylan as well as paradigms that defined rock as "progressive", "art", or "studio perfectionism". In contrast to punk rock, it balances punk's energy and skepticism with art school consciousness, Dadaist experimentalism, and atmospheric, ambient soundscapes. World music, especially African and Asian traditions, was also a major influence.

Progressive rock's impact was felt in the work of some post-punk artists, although they tended not to emulate classical rock or Canterbury groups but rather Roxy Music, King Crimson, and krautrock bands, particularly Can. Punishment of Luxury's music borrowed from both progressive and punk rock, whilst Alternative TV, who were fronted by the founder of the influential punk fanzine Sniffin' Glue Mark Perry, toured and released a split live album with Gong offshoot Here & Now.

The term "post-progressive" identifies progressive rock that returns to its original principles while dissociating from 1970s progressive rock styles, and may be located after 1978. Martin credits Roxy Music's Brian Eno as the sub-genre's most important catalyst, explaining that his 1973–77 output merged aspects of progressive rock with a prescient notion of new wave and punk. New wave, which surfaced around 1978–79 with some of the same attitudes and aesthetic as punk, was characterised by Martin as "progressive" multiplied by "punk". Bands in the genre tended to be less hostile towards progressive rock than the punks, and there were crossovers, such as Fripp and Eno's involvement with Talking Heads, and Yes' replacement of Rick Wakeman and Jon Anderson with the pop duo the Buggles.

When King Crimson reformed in 1981, they released an album, Discipline, which Macan says "inaugurated" the new post-progressive style. The new King Crimson line-up featured guitarist and vocalist Adrian Belew, who also collaborated with Talking Heads, playing live with the band and featuring on their 1980 album Remain in Light. According to Martin, Talking Heads also created "a kind of new-wave music that was the perfect synthesis of punk urgency and attitude and progressive-rock sophistication and creativity. A good deal of the more interesting rock since that time is clearly 'post-Talking Heads' music, but this means that it is post-progressive rock as well."

Neo-prog
A second wave of progressive rock bands appeared in the early 1980s and have since been categorised as a separate "neo-prog" subgenre. These largely keyboard-based bands played extended compositions with complex musical and lyrical structures. Several of these bands were signed by major record labels, including Marillion, IQ, Pendragon and Pallas. Most of the genre's major acts released debut albums between 1983 and 1985 and shared the same manager, Keith Goodwin, a publicist who had been instrumental in promoting progressive rock during the 1970s. The previous decade's bands had the advantage of appearing during a prominent countercultural movement that provided them with a large potential audience, but the neo-prog bands were limited to a relatively niche demographic and found it difficult to attract a following. Only Marillion and Saga experienced international success.

Neo-prog bands tended to use Peter Gabriel-era Genesis as their "principal model". They were also influenced by funk, hard rock and punk rock. The genre's most successful band, Marillion, suffered particularly from accusations of similarity to Genesis, although they used a different vocal style, incorporated more hard rock elements, and were very influenced by bands including Camel and Pink Floyd. Authors Paul Hegarty and Martin Halliwell have pointed out that the neo-prog bands were not so much plagiarising progressive rock as they were creating a new style from progressive rock elements, just as the bands of a decade before had created a new style from jazz and classical elements. Author Edward Macan counters by pointing out that these bands were at least partially motivated by a nostalgic desire to preserve a past style rather than a drive to innovate.

Third wave

A third wave of progressive rock bands, who can also be described as a second generation of neo-prog bands, emerged in the 1990s. The use of the term "progressive" to describe groups that follow in the style of bands from ten to twenty years earlier is somewhat controversial, as it has been seen as a contradiction of the spirit of experimentation and progress. These new bands were aided in part by the availability of personal computer-based recording studios, which reduced album production expenses, and the Internet, which made it easier for bands outside of the mainstream to reach widespread audiences. Record stores specialising in progressive rock appeared in large cities.

The shred music of the 1980s was a major influence on the progressive rock groups of the 1990s. Some of the newer bands, such as the Flower Kings, Spock's Beard and Glass Hammer, played a 1970s-style symphonic prog, but with an updated sound. A number of them began to explore the limits of the CD in the way that earlier groups had stretched the limits of the vinyl LP.

Progressive metal
Progressive rock and heavy metal have similar timelines. Both emerged from late-1960s psychedelia to achieve great early-1970s success despite a lack of radio airplay and support from critics, then faded in the mid-to-late 1970s and experienced revivals in the early 1980s. Each genre experienced a fragmentation of styles at this time, and many metal bands from the new wave of British heavy metal – most notably Iron Maiden – onwards displayed progressive rock influences. Progressive metal reached a point of maturity with Queensrÿche's 1988 concept album Operation: Mindcrime, Voivod's 1989 Nothingface, which featured abstract lyrics and a King Crimson-like texture, and Dream Theater's 1992 Images and Words.

Progressive rock elements appear in other metal subgenres. Black metal is conceptual by definition, due to its prominent theme of questioning the values of Christianity. Its guttural vocals are sometimes used by bands who can be classified as progressive, such as Mastodon, Mudvayne and Opeth. Symphonic metal is an extension of the tendency towards orchestral passages in early progressive rock. Progressive rock has also served as a key inspiration for genres such as post-rock, post-metal and avant-garde metal, math rock, power metal and neo-classical metal.

New prog
New prog describes the wave of progressive rock bands in the 2000s who revived the genre. According to Entertainment Weekly's Evan Serpick, "success stories like System of a Down and up-and-comers like the Dillinger Escape Plan, Lightning Bolt, Coheed and Cambria, and the Mars Volta create incredibly complex and inventive music that sounds like a heavier, more aggressive version of '70s behemoths such as Led Zeppelin and King Crimson."

2010s
The Progressive Music Awards were launched in 2012 by the British magazine Prog to honour the genre's established acts and to promote its newer bands. Honorees, however, are not invited to perform at the awards ceremony, as the promoters want an event "that doesn't last three weeks".

2020s
Progressive rock as a genre continues into the 2020s with existing bands like Yes, Marillion, Porcupine Tree and Magenta, along with more recently notable bands like Riverside and Crown Lands creating new music centered on the style.

Festivals
Many prominent progressive rock bands got their initial exposure at large rock festivals that were held in Britain during the late 1960s and early 1970s. King Crimson made their first major appearance at the 1969 Hyde Park free concert, before a crowd estimated to be as large as 650,000, in support of the Rolling Stones. Emerson, Lake & Palmer debuted at the 1970 Isle of Wight Festival, at which Supertramp, Family and Jethro Tull also appeared. Jethro Tull were also present at the 1969 Newport Jazz Festival, the first year in which that festival invited rock bands to perform. Hawkwind appeared at many British festivals throughout the 1970s, although they sometimes showed up uninvited, set up a stage on the periphery of the event, and played for free.

Renewed interest in the genre in the 1990s led to the development of progressive rock festivals. ProgFest, organised by Greg Walker and David Overstreet in 1993, was first held in UCLA's Royce Hall, and featured Sweden's Änglagård, the UK's IQ, Quill and Citadel. CalProg was held annually in Whittier, California during the early 2000s. The North East Art Rock Festival, or NEARfest, held its first event in 1999 in Bethlehem, Pennsylvania and held annual sold-out concerts until 2012's NEARfest Apocalypse, which featured headliners U.K. and Renaissance.

Other festivals include the annual ProgDay (the longest-running and only outdoor progressive music festival) in Chapel Hill, North Carolina, the annual Rites of Spring Festival (RoSfest) in Sarasota, Florida, The Rogue Independent Music Festival in Atlanta, Georgia, Baja Prog in Mexicali, Mexico, ProgPower USA in Atlanta, Georgia, ProgPower Europe in Baarlo, Netherlands, and ProgStock in Rahway, NJ, which held its first event in 2017.

Reception
The genre has received both critical acclaim and criticism throughout the years. Progressive rock has been described as parallel to the classical music of Igor Stravinsky and Béla Bartók. This desire to expand the boundaries of rock, combined with some musicians' dismissiveness toward mainstream rock and pop, dismayed critics and led to accusations of elitism. Its intellectual, fantastic and apolitical lyrics, and shunning of rock's blues roots, were abandonments of the very things that many critics valued in rock music. Progressive rock also represented the maturation of rock as a genre, but there was an opinion among critics that rock was and should remain fundamentally tied to adolescence, so rock and maturity were mutually exclusive. Criticisms over the complexity of their music provoked some bands to create music that was even more complex.

Most of the musicians involved were male, as was the case for most rock of the time, although Annie Haslam of Renaissance was a notable exception. Female singers were better represented in progressive folk bands, who displayed a broader range of vocal styles than the progressive rock bands with whom they frequently toured and shared band members.

British and European audiences typically followed concert hall behaviour protocols associated with classical music performances and were more reserved in their behaviour than audiences for other forms of rock. This confused musicians during US tours, as they found American audiences less attentive and more prone to outbursts during quiet passages.

These aspirations towards high culture reflect progressive rock's origins as a music created largely by upper- and middle-class, white-collar, college-educated males from Southern England. The music never reflected the concerns of or was embraced by working-class listeners, except in the US, where listeners appreciated the musicians' virtuosity. Progressive rock's exotic, literary topics were considered particularly irrelevant to British youth during the late 1970s, when the nation suffered from a poor economy and frequent strikes and shortages. Even King Crimson leader Robert Fripp dismissed progressive rock lyrics as "the philosophical meanderings of some English half-wit who is circumnavigating some inessential point of experience in his life". Bands whose darker lyrics avoided utopianism, such as King Crimson, Pink Floyd and Van der Graaf Generator, experienced less critical disfavour.

In 2002, Pink Floyd guitarist David Gilmour said, "I wasn't a big fan of most of what you'd call progressive rock. I'm like Groucho Marx: I don't want to belong to any club that would have me for a member." In 2014, Peter Gabriel remarked, "Despite prog probably being the most derided musical genre of all time there were—as today—a lot of extraordinary musicians trying to break down the barriers to reject the rules of music. It was genuinely pioneering at the time. We didn't always get it right, but when it did work we could move people and get some magic happening. I see it all as a very healthy part of growing up."

Ian Anderson, the frontman of Jethro Tull, commented:

"I still like the original term that comes from 1969: progressive rock – but that was with a small 'p' and a small 'r'. Prog Rock, on the other hand, has different connotations – of grandeur and pomposity [...] I think looking back on it that most of it was a pretty good experience for musicians and listeners alike. Some of it was a little bit overblown, but in the case of much of the music, it was absolutely spot on."

While music fans for years have declared progressive rock to be dead, the scene is still active with many sub-genres.

title: Progressive rock


text:
Dell Hymes

Dell Hathaway Hymes (June 7, 1927, in Portland, Oregon – November 13, 2009, in Charlottesville, Virginia) was a linguist, sociolinguist, anthropologist, and folklorist who established disciplinary foundations for the comparative, ethnographic study of language use. His research focused upon the languages of the Pacific Northwest. He was one of the first to call the fourth subfield of anthropology "linguistic anthropology" instead of "anthropological linguistics". The terminological shift draws attention to the field's grounding in anthropology rather than in what, by that time, had already become an autonomous discipline (linguistics). In 1972 Hymes founded the journal Language in Society and served as its editor for 22 years.

Early life and education
He was educated at Reed College, studying under David H. French; and after a stint in prewar Korea, he graduated in 1950. His work in the Army as a decoder is part of what influenced him to become a linguist. Hymes earned his PhD in linguistics from Indiana University in 1955. As a young Ph.D graduate, Hymes carefully analyzed a corpus, within the publication by Melville Jacobs of the songs and stories of Victoria Howard, developing new approaches to the interpretation of oral narratives. He went on to take a job at Harvard University.

Even at that young age, Hymes had a reputation as a strong linguist; his dissertation, completed in one year, was a grammar of the Kathlamet language spoken near the mouth of the Columbia and known primarily from Franz Boas’s work at the end of the 19th century.

Career
From 1955, Hymes taught at Harvard University for five years; leaving in 1960 to join the faculty of the University of California, Berkeley; where he spent another five years before joining the Department of Anthropology at the University of Pennsylvania in 1965 (where he succeeded A. Irving Hallowell). In 1972 he joined the Department of Folklore and Folklife and in 1975 he became Dean of the University of Pennsylvania Graduate School of Education.

He served as president of the American Folklore Society in 1973, the Linguistic Society of America in 1982, and the American Anthropological Association in 1983—the last person to have held all three positions.

While at Penn, Hymes was a founder of the journal Language in Society.

Hymes later joined the Departments of Anthropology and English at the University of Virginia, where he became the Commonwealth Professor of Anthropology and English, and from which he retired in 2000, continuing as emeritus professor until his death from complications of Alzheimer's disease on November 13, 2009.

Sexual harassment allegations
Hymes was accused of sexual harassment in the later years of his tenure at the University of Pennsylvania. According to The Daily Pennsylvanian, this included: "...his female graduate advisees being nicknamed 'Hymes' Harem,' female GSE faculty testifying against Hymes for sexual harassment, and Penn faculty in other schools severing their formal ties with GSE after multiple women filed sexual discrimination lawsuits for being denied tenure."

Influences on his work
Hymes was influenced by a number of linguists, anthropologists and sociologists; notably Franz Boas, Edward Sapir and Harry Hoijer of the Americanist Tradition; Roman Jakobson and others of the Prague Linguistic Circle; sociologist Erving Goffman and anthropologist Ray L. Birdwhistell, both his colleagues at Penn; and ethnomethodologists Harold Garfinkel, Harvey Sacks, Emanuel Schegloff and Gail Jefferson.

Hymes' career can be divided into at least two phases. In his early career Hymes adapted Prague School Functionalism to American Linguistic Anthropology, pioneering the study of the relationship between language and social context. Together with John Gumperz, Erving Goffman and William Labov, Hymes defined a broad multidisciplinary concern with language in society.

Hymes' later work focuses on poetics, particularly the poetic organization of Native American oral narratives. He and Dennis Tedlock defined ethnopoetics as a field of study within linguistic anthropology and folkloristics. Hymes considers literary critic Kenneth Burke his biggest influence on this latter work, saying, "My sense of what I do probably owes more to KB than to anyone else." Hymes studied with Burke in the 1950s. Burke's work was theoretically and topically diverse, but the idea that seems most influential on Hymes is the application of rhetorical criticism to poetry.

Hymes has included many other literary figures and critics among his influences, including Robert Alter, C. S. Lewis, A. L. Kroeber, and Claude Lévi-Strauss.

Significance of his work
As one of the first sociolinguists, Hymes helped to pioneer the connection between speech and social relations, placing linguistic anthropology at the center of the performative turn within anthropology and the social sciences more generally.

Hymes formulated a response to Noam Chomsky's influential distinction between competence (knowledge of grammatical rules necessary to decoding and producing language) and performance (actual language use in context). Hymes objected to the marginalization of performance from the center of linguistic inquiry and proposed the notion of communicative competence, or knowledge necessary to use language in social context, as an object of linguistic inquiry.

Since appropriate language use is conventionally defined, and varies across different communities, much of Hymes early work frames a project for ethnographic investigation into contrasting patterns of language use across speech communities. Hymes termed this approach "the ethnography of speaking".

The SPEAKING acronym, described below, was presented as a lighthearted heuristic to aid fieldworkers in their attempt to document and analyze instances of language use, which he termed "speech events". Embedded in the acronym is an application and extension of Roman Jakobson's arguments concerning the multifunctionality of language. He articulated other, more technical, often typologically oriented approaches to variation in patterns of language use across speech communities in a series of articles.

As a result of discussions primarily with Ray Birdwhistell at the University of Pennsylvania, in his later work, Hymes renamed the "ethnography of speaking" the "ethnography of communication" to reflect the broadening of focus from instances of language production to the ways in which communication (including oral, written, broadcast, acts of receiving/listening) is conventionalized in a given community of users, and to include nonverbal as well as verbal behavior.

With Erving Goffman and John Szwed, he established the Center for Urban Ethnography in 1969. The goal was to fund research by both faculty and students at Penn that used urban ethnography as the primary method, and much innovative research resulted. The first major grant came from the National Institute of Mental Health, funding much research emphasizing different racial and ethnic groups; the second from the U.S. National Institute of Education, funding classroom ethnography. With Erving Goffman he co-edited the series Conduct and Communication for the University of Pennsylvania Press as a way to support research they considered most valuable.

Hymes promoted what he and others call "ethnopoetics", an anthropological method of transcribing and analyzing folklore and oral narrative that pays attention to poetic structures within speech. In reading the transcriptions of Indian myths, for example, which were generally recorded as prose by the anthropologists who came before, Hymes noticed that there are commonly poetic structures in the wording and structuring of the tale. Patterns of words and word use follow patterned, artistic forms.

Hymes' goal, in his own mind, is to understand the artistry and "the competence... that underlies and informs such narratives". He created the Dell Hymes Model of Speaking and coined the term communicative competence within language education.

Narratives can be entertaining stories or important myths about the nature of the world; in addition, narratives can also convey the importance of aboriginal environmental management knowledge such as fish spawning cycles in local rivers or the disappearance of grizzly bears from Oregon. Hymes believes that all narratives in the world are organized around implicit principles of form which convey important knowledge and ways of thinking and of viewing the world. He argues that understanding narratives will lead to a fuller understanding of the language itself and those fields informed by storytelling, in which he includes ethnopoetics, sociolinguistics, psycholinguistics, rhetoric, semiotics, pragmatics, narrative inquiry and literary criticism.

Hymes clearly considers folklore and narrative a vital part of the fields of linguistics, anthropology and literature; and has bemoaned the fact that so few scholars in those fields are willing and able to adequately include folklore in its original language in their considerations. He feels that the translated versions of the stories are inadequate for understanding the stories' roles in the social or mental system in which they existed. He provides an example that in Navajo, the particles (utterances such as "uh," "so," "well," etc. that have linguistic if not semantic meaning) omitted in the English translation are essential to understanding how the story is shaped and how repetition defines the structure that the text embodies.

Hymes was the founding editor for the journal Language in Society, which he edited for 22 years.

The "S-P-E-A-K-I-N-G" model
Hymes developed a valuable model to assist the identification and labeling of components of linguistic interaction that was driven by his view that, in order to speak a language correctly, one needs not only to learn its vocabulary and grammar, but also the context in which words are used.

The model had sixteen components that can be applied to many sorts of discourse: message form; message content; setting; scene; speaker/sender; addressor; hearer/receiver/audience; addressee; purposes (outcomes); purposes (goals); key; channels; forms of speech; norms of interaction; norms of interpretation; and genres.

Hymes constructed the acronym SPEAKING, under which he grouped the sixteen components within eight divisions:

Setting and scene
"Setting refers to the time and place of a speech act and, in general, to the physical circumstances" - The living room in the grandparents' home might be a setting for a family story. Scene is the "psychological setting" or "cultural definition" of a setting, including characteristics such as range of formality and sense of play or seriousness. The family story may be told at a reunion celebrating the grandparents' anniversary. At times, the family would be festive and playful; at other times, serious and commemorative.

Participants
Speaker and audience - Linguists will make distinctions within these categories; for example, the audience can be distinguished as addressees and other hearers. At the family reunion, an aunt might tell a story to the young female relatives, but males, although not addressed, might also hear the narrative.

Ends
Purposes, goals, and outcomes - The aunt may tell a story about the grandmother to entertain the audience, teach the young women, and honor the grandmother.

Act sequence
Form and order of the event - The aunt's story might begin as a response to a toast to the grandmother. The story's plot and development would have a sequence structured by the aunt. Possibly there would be a collaborative interruption during the telling. Finally, the group might applaud the tale and move onto another subject or activity.

Key
Clues that establish the "tone, manner, or spirit" of the speech act - The aunt might imitate the grandmother's voice and gestures in a playful way, or she might address the group in a serious voice emphasizing the sincerity and respect of the praise the story expresses.

Instrumentalities
Forms and styles of speech - The aunt might speak in a casual register with many dialect features or might use a more formal register and careful grammatically "standard" forms.

Norms
Social rules governing the event and the participants' actions and reaction - In a playful story by the aunt, the norms might allow many audience interruptions and collaboration, or possibly those interruptions might be limited to participation by older females. A serious, formal story by the aunt might call for attention to her and no interruptions as norms.

Genre
The kind of speech act or event; for the example used here, the kind of story - The aunt might tell a character anecdote about the grandmother for entertainment, or an exemplum as moral instruction. Different disciplines develop terms for kinds of speech acts, and speech communities sometimes have their own terms for types.

Family and personal life
Hymes' spouse, Virginia Dosch Hymes, was also a sociolinguist and folklorist. They had met at Indiana University and married in 1954.

Religious associations
Hymes was a member of the Guild of Scholars of The Episcopal Church.

He was a congregant of St. Paul Memorial Church and Peace Lutheran Church in Charlottesville, Virginia.

Awards
Hymes was awarded the Gold Medal of Philology in 2006.

Publications

 * Cazden, C.B., John, V.P., & Hymes, D.H. (Eds.). (1972). Functions of language in the classroom. New York: Teachers College Press.
 * Gumperz, J. J., & Hymes, D. (Eds.). (1964). The Ethnography of Communication. Special issue of American Anthropologist, 66 (6), Part II: 137–54.
 * Gumperz, J. J., & Hymes, D. (1972). Directions in sociolinguistics: The ethnography of communication. New York: Holt, Rinehart, & Winston.
 * Hymes, D.H. (1961). Functions of speech: An evolutionary approach. In F. Gruber (Ed.), Anthropology and education. Philadelphia: University of Pennsylvania.
 * Hymes, D. (1962). The Ethnography of Speaking. In T. Gladwin & W. C. Sturtevant (Eds.), Anthropology and Human Behavior (pp. 13–53). Washington, DC: Anthropology Society of Washington.
 * Hymes, D.H. (1963). Toward a history of linguistic anthropology. Anthropological Linguistics, 5(1), 59–103.
 * Hymes, D.H. (1964a). Directions in (ethno-)linguistic theory. In A.K. Romney & R.G. D’Andrade (Eds.), Transcultural studies of cognition (pp. 6–56). American Anthropologist, 66(3), part 2.
 * Hymes, D. (Ed.). (1964) Language in Culture and Society: A Reader in Linguistics and Anthropology. New York: Harper & Row.
 * Hymes, D.H. (1967). Models of the interaction of language and social setting. Journal of Social Issues, 23(2), 8–38.
 * Hymes, D.H. (1967). The anthropology of communication. In F.E. Dance (Ed.), Human communication theory: Original essays. New York: Holt, Rinehart and Winston.
 * Hymes, D.H. (1970). Linguistic method in ethnography: Its development in the United States. In P. Garvin (Ed.), Method and theory in linguistics. The Hague: Mouton.
 * Hymes, D. (1971). Sociolinguistics and the ethnography of speaking. In E. Ardener (Ed.), Social anthropology and language (pp. 47–93). London: Routledge.
 * Hymes, D. (1971). On linguistic theory, communicative competence, and the education of disadvantaged children. In M.L. Wax, S.A. Diamond & F. Gearing (Eds.), Anthropological perspectives on education (pp. 51–66). New York: Basic Books.
 * Hymes, D. (Ed.). (1971). Pidginization and Creolization of Languages. London: Cambridge University Press.
 * Hymes, D.H. (1972). On communicative competence. In J.B. Pride & J. Holmes (Eds.), Sociolinguistics (pp. 269–293). London: Penguin.
 * Hymes, D.H. (1972). Editorial introduction. Language in Society, 1, 1–14.
 * Hymes, D. (Ed.). (1972). Reinventing Anthropology. New York: Pantheon.
 * Hymes, D.H. (1972). Toward ethnographies of communication. In P.P. Giglioli (Ed.), Language and social context (pp. 21–44). Harmondsworth: Penguin.
 * Hymes, D.H. (1973). Toward linguistic competence. Working Papers in Sociolinguistics, No. 16.
 * Hymes, D.H. (1974). Ways of speaking. In R. Bauman & J. Sherzer (Eds.), Explorations in the ethnography of speaking (pp. 433–452). Cambridge: Cambridge University Press.
 * Hymes, D.H. (Ed.). (1974). Studies in the history of linguistics: Traditions and paradigms. Bloomington: Indiana University Press.
 * Hymes, D. (1974). Foundations in Sociolinguistics: An Ethnographic Approach. Philadelphia: University of Pennsylvania Press.
 * Hymes, D.H. (1974). An ethnographic perspective. New Literary History, 5, 187–201.
 * Hymes, D.H. (1974). Review of Noam Chomsky. In G. Harman (Ed.), "On Noam Chomsky: Critical essays" (pp. 316–333). Garden City, NY: Anchor.
 * Hymes, D.H. (1975). Breakthrough into performance. In D. Ben-Amos & K. Goldstein (Eds.), Folklore: Performance and communication (pp. 11–74). The Hague: Mouton.
 * Hymes, D.H. (1976). Toward linguistic competence. Sociologische Gids, 4, 217–239.
 * Hymes, D.H. (1976). Discovering oral performance and measured verse in American Indian narrative. New Literary History, 8, 431–457.
 * Hymes, D. (1980) In five year patterns. In B. H. Davis & R. K. O'Cain (Eds.), First Person Singular (pp. 201–213). Amsterdam: John Benjamins.
 * Hymes, D. (1980). Language in Education: Ethnolinguistic Essays. Washington, DC: Center for Applied Linguistics.
 * Hymes, D., & Fought, J. (1981). American Structuralism. The Hague: Mouton.
 * Hymes, D. (1981). "In Vain I Tried to Tell You": Essays in Native American Ethnopoetics. Philadelphia: University of Pennsylvania Press.
 * Hymes, D. (1983). Essays in the History of Linguistic Anthropology. Amsterdam: John Benjamins.
 * Hymes, D.H. (1984). Vers la compétence de communication. (Trans. F. Mugler). Paris: Hatier.
 * Hymes, D.H. (1985). Toward linguistic competence. AILA Review/Revue de l’AILA (Association Internationale de Linguistique Appliquée), 2, 9–23.
 * Hymes, D.H. (1992). Inequality in language: Taking for granted. Working Papers in Educational Linguistics, 8(1), 1–30.
 * Hymes, D.H. (1993). Inequality in language: Taking for granted. In J.E. Alatis (Ed.), Language, communication, and social meaning (pp. 23–40). Washington, D.C.: Georgetown University Press.
 * Hymes, D. (1996). Ethnography, Linguistics, Narrative Inequality: Toward an Understanding of Voice. London: Taylor & Francis.
 * Hymes, D.H. (1998). When is oral narrative poetry? Generative form and its pragmatic conditions. Pragmatics, 8(4), 475–500.
 * Hymes, D.H. (1999). Boas on the threshold of ethnopoetics. In R. Darnell & L. Valentine (Eds.), Theorizing the Americanist tradition. University of Toronto Press.
 * Hymes, D.H. (2000). The emergence of sociolinguistics: A reply to Samarin. Dialogue, 312–315.
 * Hymes, D.H. (2001). Poetry. In A. Duranti (Ed.), Key terms in language and culture. Oxford: Blackwell.
 * Hymes, D.H. (2001). Preface. Textus, 14, 189–192.
 * Hymes, D. (2003). Now I Know Only So Far: Essays in Ethnopoetics. Lincoln: University of Nebraska Press.

title: Dell Hymes