Monk's Music: Thelonious Monk and Jazz History in the Making

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University of California Press, 2007 M12 5 - 252 páginas
Thelonious Monk (1917-1982) was one of jazz's greatest and most enigmatic figures. As a composer, pianist, and bandleader, Monk both extended the piano tradition known as Harlem stride and was at the center of modern jazz's creation during the 1940s, setting the stage for the experimentalism of the 1960s and '70s. This pathbreaking study combines cultural theory, biography, and musical analysis to shed new light on Monk's music and on the jazz canon itself. Gabriel Solis shows how the work of this stubbornly nonconformist composer emerged from the jazz world's fringes to find a central place in its canon. Solis reaches well beyond the usual life-and-times biography to address larger issues in jazz scholarship—ethnography and the role of memory in history's construction. He considers how Monk's stature has grown, from the narrowly focused wing of the avant-garde in the 1960s and '70s to the present, where he is claimed as an influence by musicians of all kinds. He looks at the ways musical lineages are created in the jazz world and, in the process, addresses the question of how musicians use performance itself to maintain, interpret, and debate the history of the musical tradition we call jazz.

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Contenido

Introduction
1
Monk and His Music
17
1 A Biographical Sketch
19
History Memory and the Making of a Jazz Giant
28
Mork Memory and the Moment of Performance
61
3 The Question of Voice
63
Fred Hersch Danilo Perez and Jessica Williams
81
Inside and Outside Monks Legacy Neoconservatism and the AvantGarde
109
6 Classicism and Performance
134
7 Monk and AvantGarde Positions
158
Steve Lacy Roswell Rudd and Randy Weston
185
Afterword
205
Notes
207
Bibliography
219
Index
233
Derechos de autor

Monk and the Struggle to Authenticate Jazz at the End of the Twentieth Century
111

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Página 5 - The word in language is half someone else's. It becomes 'one's own' only when the speaker populates it with his own intention, his own accent, when he appropriates the word, adapting it to his own semantic and expressive intention.
Página 79 - Prior to this moment of appropriation, the word does not exist in a neutral and impersonal language . . . but rather it exists in other people's mouths, in other people's contexts, serving other people's intentions: it is from there that one must take the word, and make it one's own. And not all words for just anyone submit equally easily to this appropriation, to this seizure and transformation into private property: many words stubbornly resist, others remain alien, sound foreign in the mouth of...
Página 79 - As a living, socio-ideological concrete thing . . . language, for the individual consciousness, lies on the borderline between oneself and the other. The word in language is half someone else's. It becomes "one's own...
Página 193 - Knowing in the cells of his existence that life was war, nothing but war, the Negro (all exceptions admitted) could rarely afford the sophisticated inhibitions of civilization, and so he kept for his survival the art of the primitive, he lived in the enormous present, he subsisted for his Saturday night kicks, relinquishing the pleasures of the mind for the more obligatory pleasures of the body...
Página 78 - taste' of a profession, a genre, a tendency, a party, a particular work, a particular person, a generation, an age group, the day and hour. Each word tastes of the context and contexts in which it has lived its socially charged life; all words and forms are populated by intentions.
Página 13 - Of course, a certain entry as a living being into a foreign culture, the possibility of seeing the world through its eyes, is a necessary part of the process of understanding it; but if this were the only aspect of this understanding, it would merely be duplication and would not entail anything new or enriching.
Página 79 - ... many words stubbornly resist, others remain alien, sound foreign in the mouth of the one who appropriated them and who now speaks them...
Página 1 - Perhaps in the swift change of American society in which the meanings of one's origin are so quickly lost, one of the chief values of living with music lies in its power to give us an orientation in time.
Página 14 - In the realm of culture, outsideness is a most powerful factor in understanding. [. . .] We raise new questions for a foreign culture, ones that it did not raise for itself; we seek answers to our own questions in it; and the foreign culture responds to us by revealing to us its new aspects and new semantic depths.
Página 210 - The conscious feeling of having A personal identity is based on two simultaneous observations: the immediate perception of one's selfsameness and continuity in time; and the simultaneous perception of the fact that others recognize one's sameness and continuity.

Acerca del autor (2007)

Gabriel Solis is Assistant Professor of Music at the University of Illinois, Urbana-Champaign.

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