Reestablishing Unity: Postmodern Connectivity in the Art of Meredith Monk (original) (raw)
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Symmetry in the music of Thelonious Monk and Steve Coleman
The purpose of this thesis is to trace and analyze the use of symmetry in the music of Thelonious Monk and Steve Coleman. A comparative analysis of concepts and terminology from western art music theory is used and translated to a jazz context. Transcriptions of compositions, solo improvisations, and musical analysis describe the use of several instances of symmetry in the music of Monk and Coleman. Findings include the interaction and intuitive role that symmetry plays with musical notions of form, melody, harmony and rhythm. The importance of this work resides in expanding the knowledge of music theory and music analysis into jazz theory that can be applied to the music of other major jazz musicians.
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Thelonious Monk's Harmony, Rhythm & Pianism
Like the practitioners of other great improvisational genres such as Hindustani raga, jazz masters establish their own musical voice within a known musical rhetoric. An icon of the genre, Thelonious Monk made music both exemplary of and different from all other jazz. Using detailed transcription and analysis, this study examines one of his solo performances of the 1940s standard tune I Should Care, first by explaining the basics of jazz harmony, and then by viewing Monk’s approach alongside those of two rather more conventional pianist peers, Oscar Peterson and Bill Evans. The analysis expands to include Monk’s pianistic style, rhythm, and sense of time, concluding with assessment of his iconoclastic but distinguished jazz legacy, and his role as a model creative musician beyond genre.
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"Well, You Needn't": Harmonic Challenges for the Jazz Improviser in Thelonious Monk's Music
Jazz-hitz, 2022
Some of Thelonious Monk’s compositions are notoriously problematic for the improviser. His use of unconventional harmonic movements and unique voicings make them difficult to accurately encapsulate in the 32-bar lead sheet format often used in jazz education. This article provides an in-depth study of the harmony in “Well, You Needn’t” and some strategies that jazz masters such as Monk, John Coltrane, Ray Copeland, Gigi Gryce, Coleman Hawkins, Miles Davis, Horace Silver, Wilbur Ware, and Paul Chambers have used to improvise on it with a creative approach. The transcriptions and analyses in this research reveal a pragmatic approach to Monk’s music that provides the improviser with more tools to overcome harmonic challenges.
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