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Journal Article
Journal of Music Theory (2011) 55 (1): 155–160.
Published: 01 April 2011
... , February . Forte Allen . 2011 . '' The Development of Diminutions in American Jazz. '' Journal of Jazz Studies 7 : 3 – 23 . Kelley Robin D. G. 2009 . Thelonious Monk: The Life and Times of an American Original . New York : Free Press . Larson Steve . 2005...
Journal Article
Journal of Music Theory (2013) 57 (2): 419–431.
Published: 01 October 2013
... : MIT Press . Clough John Douthett Jack . 1991 . “ Maximally Even Sets .” Journal of Music Theory 35/1-2 : 93 – 173 . De Veaux Scott . 1999 . “ Nice Work If You Can Get It: Thelonious Monk and Popular Song .” Black Music Research Journal 19/2 : 169 – 86 . Dunsby...
Journal Article
Journal of Music Theory (2005) 49 (2): 241–275.
Published: 01 October 2005
... evidence is drawn from two selections from Conversations with Myself: “ ’Round Midnight” and “Stella by Starlight.” “ ’Round Midnight” The first cut on Conversations with Myself is Thelonious Monk’s com- position “ ’Round Midnight.” Its theme is in the standard thirty...
Journal Article
Journal of Music Theory (2019) 63 (1): 35–70.
Published: 01 April 2019
... . In a Pinch . Kendor Music, Inc. , 3248 . Score. Schneider Maria . 1998 . Maria Schneider Orchestra: Evanescence , edited by Sturm Fred . Universal Edition . Schneider Maria . 2001 . “ Maria Schneider .” Interview by Rowe Monk Archive Fillius Jazz , Hamilton College...
Journal Article
Journal of Music Theory (2011) 55 (1): 89–146.
Published: 01 April 2011
... as units, through the blending of elements from two or more input spaces, for example, when a person solves the following puzzle: A Buddhist monk begins at dawn one day walking up a mountain, reaches the top at sunset, meditates at the top for several days until one dawn when he...
Journal Article
Journal of Music Theory (2007) 51 (2): 333–340.
Published: 01 October 2007
... Cells in the Music of Thelonious Monk.” Annual Review of Jazz Studies 8 : 181 -201. Larson, Steve. 1999 . “Swing and Motive in Three Performances by Oscar Peterson.” Journal of Music Theory 43 : 283 -314. ____. 2003 . “What Makes a Good Bridge?” Nederlands Tijdschrift voor Muziektheorie...
Journal Article
Journal of Music Theory (2005) 49 (2): 209–239.
Published: 01 October 2005
..., as the Adderleys play it, is transcribed as Example 8 along with Jones’s bassline.14 “Straight, No Chaser,” a Thelonious Monk composition, is character- istically economical with its material.15 Its principle motive, labeled X in Example 8, features an upbeat dominant-tonic leap followed by a par- tially...
Journal Article
Journal of Music Theory (2008) 52 (1): 123–149.
Published: 01 April 2008
..., attributed at the time to Hermannus Contractus.7 Johannes May in 1911 also makes reference to the Reichenau monk when he describes Hildegard’s responsory O clarissima mater “as a variation of Salve regina, which the monk Hermann the Lame from Reichenau had sung a hundred years earlier” (211).8...
Journal Article
Journal of Music Theory (2010) 54 (1): 91–105.
Published: 01 April 2010
... Wires, which uses the Chopin/Argerich material as a kind of cantus firmus. Black Wires (like all the other works in the Étude d’un prélude series, as well as later works based on microtimings of Anton Webern and Thelonious Monk) takes...
Journal Article
Journal of Music Theory (2016) 60 (2): 97–148.
Published: 01 October 2016
... and making explicit that comparative element, rather than treating a work’s form as something that can exist in a vacuum. Works Cited Asplmayr, Franz. 1999. Six quatuors concertantes, opus 2. Edited by Dennis Monk. Madison, WI...
Journal Article
Journal of Music Theory (2005) 49 (2): 301–332.
Published: 01 October 2005
... characteristics described belong to the bebop style: the repeated pairs of I–≤II chords of “Deluge” and “Speak No Evil” differ from those of Thelonious Monk’s “Well You Needn’t” or Dizzy Gillespie’s “A Night in Tunisia” only in that Shorter’s ≤IIs are major- seventh chords originating in the phrygian mode...
Journal Article
Journal of Music Theory (2008) 52 (1): 13–40.
Published: 01 April 2008
..., 46, 62). In contrast, Claude Palisca spoke of “a school text, not so much for beginners as for monks who already know a large repertory of chants” (1978, 4). Questioning the very notion of “beginning” or “advanced” students within the musical culture...
Journal Article
Journal of Music Theory (2008) 52 (1): 75–122.
Published: 01 April 2008
... Raimon recognizes no social distinction of high or low in the class of performer or composer, he does insist that composers who wish to emulate the masters must craft the songs, specifically the subject mat- ter and the words, with a degree of sophistication.27 A Catalan monk and diplomat...