Ingrid Monson
Biographic Data
| ID | 75838 |
|---|---|
| NAME | Ingrid Monson |
| GIVEN NAMES | Ingrid |
| FAMILY NAME | Monson |
| SIGNATURE | MONSON I |
| AFFILIATIONS | Harvard University |
| ORCID | 0000-0002-6929-7821 |
| VERIFIED | Yes |
| TOTAL WORKS | 22 |
| TOTAL CITATIONS | 78 |
| AUTHOR COUNT | 21 |
| EDITOR COUNT | 1 |
| FIRST PUBLICATION YEAR | 1991 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 4 |
Blues People: Amiri Baraka as Social Theorist
Music Analysis and the Dignity of African Music
K. Agawu (2016). The African imagination in music. Oxford University Press, 372 pp. In The African Imagination in Music , Kofi Agawu offers a magisterial synthesis of his work on African music that seeks to provide a conceptual framework for thinking about all music “conceived, created and
Voices of the Rainforest: A Day in the Life of Bosavi Papua New Guinea
When Steven Feld began his fieldwork in 1976 among the Kaluli of Papua New Guinea he was so struck by the continual sounds of the rainforest that he began recording them with his Nagra reel-to-reel tape recorder and learning to understand the soundscape as the Bosavi do—as sounds marking the time of day, distance, changes in the weather, and the voices of departed ancestors. The creation of the film Voices of the Rainforest has a long history tha…
Jazz Transatlantic, Volume I: The African Undercurrent in Twentieth-Century Jazz CultureJazz Transatlantic, Volume II: Jazz Derivatives and Developments in Twentieth-Century Africa
Book Review| January 01 2020 Jazz Transatlantic, Volume I: The African Undercurrent in Twentieth-Century Jazz CultureJazz Transatlantic, Volume II: Jazz Derivatives and Developments in Twentieth-Century Africa Jazz Transatlantic, Volume I: The African Undercurrent in Twentieth-Century Jazz Culture. Gerhard Kubik. 2017. Jackson: University Press of Mississippi. 464 pp., black-and-white illustrations, bibliography, index.Jazz Transatlantic, Volume …
Why Jazz Still Matters
Perhaps, like Miles Davis, jazz itself is a mystique wrapped in an enigma, an essential or inescapable unknowingness that makes this music attractive for its audience. But if jazz is partly-through its challenging demands as a musical form, through the various changes through which it has sustained itself over the twentieth century and into the twenty-first, and through its aspirations to both embody and transform modernity-a music of clear and r…
Yusef Lateef's Autophysiopsychic Quest
Yusef Lateef's neologism for jazz was autophysiopsychic, meaning “music from one's physical, mental and spiritual self.” Lateef condensed in this term a very considered conception linking the intellectual and the spiritual based in his faith as an Ahmadiyya Muslim and his lifelong commitment to both Western and non-Western intellectual explorations. Lateef's distinctive voice as an improviser is traced with respect to his autophysiopsychic explor…
On Ownership and Value: Response
Ronald Radano has written an elegant and intellectually ambitious meditation on racial authenticity and the history of black music. As always, his erudite prose frames a classic theme in the study of African-American music in an arresting manner that forces us to think deeply about the question. In this brief response, I would like to present the most intriguing aspects of Radano's argument as well as offer a critique that suggests another avenue…
Eccentric, Gifted, and Black: Thelonious Monk Revealed
Do not miss Robin D. G. Kelley'sThelonious Monk: The Life and Times of an American Original, for it will stand as the definitive biography of the great American composer and pianist for many years to come. What distinguishes Kelley's treatment of Monk's complicated and enigmatic life is the sheer depth and breadth of primary research, including, for the first time, the active cooperation and involvement of Thelonious Monk's family. Once he had se…
Hearing, Seeing, and Perceptual Agency
African Diaspora: A Musical Perspective
African Diaspora: A Musical Perspective (Critical and Cultural Musicology, 3)
The African Diaspora presents musical case studies from various regions of the African diaspora, including Africa, the Caribbean, Latin America, and Europe, that engage with broader interdisciplinary discussions about race, gender, politics, nationalism, and music. --From publisher's description
Saying Something: Jazz Improvisation and Interaction
Monk Meets SNCC
Thelonious Monk--the enigma, the man who could compose with the radio blaring, wore unusual hats, danced around onstage, had periods of acute disconnectedness, and showed particular gifts in mathematics as a high school student--has long been a potent symbol of the jazz musician as artist. Monk's reluctance to verbalize--to interviewers, musicians seeking instruction, and even friends and family members--provides further evidence that music was h…
Just My Soul Responding: Rhythm and Blues, Black Consciousness, and Race Relations
Riffs, Repetition, and Theories of Globalization
iffs-short repeated segments of sound, deployed singly, in call and response, in layers, as melody, accompaniment, and bass line-per- vade African-American musics and various world popular musics, especial- ly those of the African diaspora. They are but one aspect of a multilayered set of musical and cultural practices contributing to an African American musical sensibility, and they interact freely with the entire musical complex that Samuel Flo…
Saying Something: Jazz Improvisation and Interaction
Saying Something: Jazz Improvisation and Interaction
Representing Jazz
The Theory of Participatory Discrepancies: [A Progress Report; Searching for Swing: Participatory Discrepancies in the Jazz Rhythm Section; Rhythm as Duration of Sounds in "Tumba Francesa"]: Responses
James R. Cowdery, Dane L. Harwood, James Kippen, Michele Kisliuk, David Locke, Eddie S. Meadows, Leonard B. Meyer, Ingrid Monson, John Shepherd, Christopher Small, Christopher A. Waterman, [The Theory of Participatory Discrepancies: A Progress Report; Searching for Swing: Participatory Discrepancies in the Jazz Rhythm Section; Rhythm as Duration of Sounds in "Tumba Francesa"]: Responses, Ethnomusicology, Vol. 39, No. 1, Special Issue: Participato…
The Problem with White Hipness: Race, Gender, and Cultural Conceptions in Jazz Historical Discourse
This essay situates hipness within a broader range of African American history and moral debate than is generally presented in accounts of jazz history. The perspectives of Amiri Baraka, Mezz Mezzrow, Norman Mailer, and Dizzy Gillespie are used to develop the thesis that there is a problem with white presumptions about how hipness relates to African American cultural life and history. This problem requires addressing interrelationships between ra…
Doubleness and Jazz Improvisation: Irony, Parody, and Ethnomusicology
You Just Fight for Your Life: The Story of Lester Young
The Problem with White Hipness: Race, Gender, and Cultural Conceptions in Jazz Historical Discourse
This essay situates hipness within a broader range of African American history and moral debate than is generally presented in accounts of jazz history. The perspectives of Amiri Baraka, Mezz Mezzrow, Norman Mailer, and Dizzy Gillespie are used to develop the thesis that there is a problem with white presumptions about how hipness relates to African American cultural life and history. This problem requires addressing interrelationships between ra…
Riffs, Repetition, and Theories of Globalization
iffs-short repeated segments of sound, deployed singly, in call and response, in layers, as melody, accompaniment, and bass line-per- vade African-American musics and various world popular musics, especial- ly those of the African diaspora. They are but one aspect of a multilayered set of musical and cultural practices contributing to an African American musical sensibility, and they interact freely with the entire musical complex that Samuel Flo…
Doubleness and Jazz Improvisation: Irony, Parody, and Ethnomusicology
Hearing, Seeing, and Perceptual Agency
Voices of the Rainforest: A Day in the Life of Bosavi Papua New Guinea
When Steven Feld began his fieldwork in 1976 among the Kaluli of Papua New Guinea he was so struck by the continual sounds of the rainforest that he began recording them with his Nagra reel-to-reel tape recorder and learning to understand the soundscape as the Bosavi do—as sounds marking the time of day, distance, changes in the weather, and the voices of departed ancestors. The creation of the film Voices of the Rainforest has a long history tha…
You Just Fight for Your Life: The Story of Lester Young
Doubleness and Jazz Improvisation: Irony, Parody, and Ethnomusicology
The Theory of Participatory Discrepancies: [A Progress Report; Searching for Swing: Participatory Discrepancies in the Jazz Rhythm Section; Rhythm as Duration of Sounds in "Tumba Francesa"]: Responses
James R. Cowdery, Dane L. Harwood, James Kippen, Michele Kisliuk, David Locke, Eddie S. Meadows, Leonard B. Meyer, Ingrid Monson, John Shepherd, Christopher Small, Christopher A. Waterman, [The Theory of Participatory Discrepancies: A Progress Report; Searching for Swing: Participatory Discrepancies in the Jazz Rhythm Section; Rhythm as Duration of Sounds in "Tumba Francesa"]: Responses, Ethnomusicology, Vol. 39, No. 1, Special Issue: Participato…
The Problem with White Hipness: Race, Gender, and Cultural Conceptions in Jazz Historical Discourse
This essay situates hipness within a broader range of African American history and moral debate than is generally presented in accounts of jazz history. The perspectives of Amiri Baraka, Mezz Mezzrow, Norman Mailer, and Dizzy Gillespie are used to develop the thesis that there is a problem with white presumptions about how hipness relates to African American cultural life and history. This problem requires addressing interrelationships between ra…
Saying Something: Jazz Improvisation and Interaction
Representing Jazz
Saying Something: Jazz Improvisation and Interaction
Saying Something: Jazz Improvisation and Interaction
Monk Meets SNCC
Thelonious Monk--the enigma, the man who could compose with the radio blaring, wore unusual hats, danced around onstage, had periods of acute disconnectedness, and showed particular gifts in mathematics as a high school student--has long been a potent symbol of the jazz musician as artist. Monk's reluctance to verbalize--to interviewers, musicians seeking instruction, and even friends and family members--provides further evidence that music was h…
Just My Soul Responding: Rhythm and Blues, Black Consciousness, and Race Relations
Riffs, Repetition, and Theories of Globalization
iffs-short repeated segments of sound, deployed singly, in call and response, in layers, as melody, accompaniment, and bass line-per- vade African-American musics and various world popular musics, especial- ly those of the African diaspora. They are but one aspect of a multilayered set of musical and cultural practices contributing to an African American musical sensibility, and they interact freely with the entire musical complex that Samuel Flo…
African Diaspora: A Musical Perspective (Critical and Cultural Musicology, 3)
The African Diaspora presents musical case studies from various regions of the African diaspora, including Africa, the Caribbean, Latin America, and Europe, that engage with broader interdisciplinary discussions about race, gender, politics, nationalism, and music. --From publisher's description
African Diaspora: A Musical Perspective
Hearing, Seeing, and Perceptual Agency
On Ownership and Value: Response
Ronald Radano has written an elegant and intellectually ambitious meditation on racial authenticity and the history of black music. As always, his erudite prose frames a classic theme in the study of African-American music in an arresting manner that forces us to think deeply about the question. In this brief response, I would like to present the most intriguing aspects of Radano's argument as well as offer a critique that suggests another avenue…
Eccentric, Gifted, and Black: Thelonious Monk Revealed
Do not miss Robin D. G. Kelley'sThelonious Monk: The Life and Times of an American Original, for it will stand as the definitive biography of the great American composer and pianist for many years to come. What distinguishes Kelley's treatment of Monk's complicated and enigmatic life is the sheer depth and breadth of primary research, including, for the first time, the active cooperation and involvement of Thelonious Monk's family. Once he had se…
Why Jazz Still Matters
Perhaps, like Miles Davis, jazz itself is a mystique wrapped in an enigma, an essential or inescapable unknowingness that makes this music attractive for its audience. But if jazz is partly-through its challenging demands as a musical form, through the various changes through which it has sustained itself over the twentieth century and into the twenty-first, and through its aspirations to both embody and transform modernity-a music of clear and r…
Yusef Lateef's Autophysiopsychic Quest
Yusef Lateef's neologism for jazz was autophysiopsychic, meaning “music from one's physical, mental and spiritual self.” Lateef condensed in this term a very considered conception linking the intellectual and the spiritual based in his faith as an Ahmadiyya Muslim and his lifelong commitment to both Western and non-Western intellectual explorations. Lateef's distinctive voice as an improviser is traced with respect to his autophysiopsychic explor…
Jazz Transatlantic, Volume I: The African Undercurrent in Twentieth-Century Jazz CultureJazz Transatlantic, Volume II: Jazz Derivatives and Developments in Twentieth-Century Africa
Book Review| January 01 2020 Jazz Transatlantic, Volume I: The African Undercurrent in Twentieth-Century Jazz CultureJazz Transatlantic, Volume II: Jazz Derivatives and Developments in Twentieth-Century Africa Jazz Transatlantic, Volume I: The African Undercurrent in Twentieth-Century Jazz Culture. Gerhard Kubik. 2017. Jackson: University Press of Mississippi. 464 pp., black-and-white illustrations, bibliography, index.Jazz Transatlantic, Volume …
Music Analysis and the Dignity of African Music
K. Agawu (2016). The African imagination in music. Oxford University Press, 372 pp. In The African Imagination in Music , Kofi Agawu offers a magisterial synthesis of his work on African music that seeks to provide a conceptual framework for thinking about all music “conceived, created and
Voices of the Rainforest: A Day in the Life of Bosavi Papua New Guinea
When Steven Feld began his fieldwork in 1976 among the Kaluli of Papua New Guinea he was so struck by the continual sounds of the rainforest that he began recording them with his Nagra reel-to-reel tape recorder and learning to understand the soundscape as the Bosavi do—as sounds marking the time of day, distance, changes in the weather, and the voices of departed ancestors. The creation of the film Voices of the Rainforest has a long history tha…
Blues People: Amiri Baraka as Social Theorist
Art (13 works) · Music History and Culture (13 works) · Jazz (10 works) · Art history (9 works) · Musicology and Musical Analysis (9 works) · Aesthetics (7 works) · Literature (7 works) · Sociology (7 works) · Visual arts (7 works) · History (6 works)