Brief premise: In 1948, Monk said, “We liked Ravel, Stravinsky, Debussy, Prokofiev, and Schoenberg, and we may have been influenced a little,” though he did not name specific pieces.

 Brief premise: In 1948, Monk said, “We liked Ravel, Stravinsky, Debussy, Prokofiev, and Schoenberg, and we may have been influenced a little,” though he did not name specific pieces.

Stravinsky (representative tracks that make his traits easy to hear)

• Festival-like polyrhythms / ostinati
  https://www.youtube.com/watch?v=EkwqPJZe8ms (“The Rite of Spring,” LSO)

• Bitonality (the “Petrushka chord,” C against F♯)
  https://www.youtube.com/watch?v=3uzmJyl_ZiY (explanation) / https://www.youtube.com/watch?v=noJLcu7gHJ0 (demonstration)

• Block construction and wind-color writing
  https://www.youtube.com/watch?v=72V_OTSiAkM (“Symphonies of Wind Instruments”)

• A reworking of ragtime vocabulary (a bridge to jazz practice)
  https://www.youtube.com/watch?v=rRslORbLrSs (“Piano-Rag-Music,” composer at the piano)

• Dry, dance-driven late neoclassicism
  https://www.youtube.com/watch?v=7TPS6TLKoBk (“Agon,” complete)

“Stravinskian inside Monk” (with reasons)

• “Epistrophy” — strong ostinato feel and rhythmic displacement
  https://www.youtube.com/watch?v=uaLH4f3TNfs (Brussels, 1963)

• “Evidence” — riff re-ordering and accent flips
  https://www.youtube.com/watch?v=4jX6oYw4Al8 (first recording, 1948)

• “Four in One” — the “color” of the whole-tone scale brought to the fore
  https://www.youtube.com/watch?v=_KnPEb3jgh8 (Blue Note, 1951)

• “Trinkle Tinkle” — propulsion from whole-tone / symmetric collections
  https://www.youtube.com/watch?v=6WjW5orDM2c (Monk with Coltrane, 1957)

• “Brilliant Corners” — blocklike sections and sharp tension shifts
  https://www.youtube.com/watch?v=pcvRhMZ7GyI (title track, 1956)

• (Also) “Criss Cross” — motif repetition with moving accents
  https://www.youtube.com/watch?v=RkO0Bu85NU0 (1963)

Note: Because direct testimonies naming specific Stravinsky works Monk admired are scarce, the Monk selections above are offered as audible examples of shared “methods of making”—rhythmic displacement, block repetition, and symmetric scales. If you’d like, I can swap in other versions (official/high-fidelity releases).