WHAT DOES THE WHO OWE TO CLASSICAL MUSIC?

Abstract

The interplay between classical and popular music has been a well-documented phenomenon. The British rock band The Who initially embarked on their musical journey in the 1960s as part of the "British Invasion" without many distinctive elements that set them apart. However, a transformation began as the decade drew to a close, and they achieved commercial acclaim.

This paper delves into The Who's second and third stages of their career (1970s and 1980s), marked by the creation of pioneering rock operas like "Tommy" and "Quadrophenia." While the term "opera" in the context of popular music may not align with classical opera conventions, it becomes evident that classical music elements found their way into The Who's repertoire.

Examining their harmonic structure reveals a fusion of classical influences, albeit in an altered form, enriching their sound. Additionally, The Who's compositions exhibit a nuanced understanding of musical form, further blurring the lines between classical and popular music.

Furthermore, this exploration extends beyond classical music to encompass modern and postmodern elements in The Who's oeuvre, notably the subtle hints of minimalism. This paper aims to shed light on the intricate relationship between classical and popular music, using The Who's evolution as a prime example of how a rock band can draw from classical traditions while incorporating elements of contemporary music, ultimately redefining the boundaries of musical genres.