Ragtime - also spelled rag-time or rag time - is a musical style that enjoys peak popularity between 1895 and 1918. Its main character is its syncopated rhythm , or "tattered".
Video Ragtime
Histori
Origins
This style comes from African-American communities in cities such as St. Louis. Ernest Hogan (1865-1909) was a pioneer of ragtime and was the first composer to have a piece of ragtime (or "rag") published as sheet music, beginning with the song "La Pas Ma La", published in 1895. Hogan has also been credited because it combines the term ragtime . The term is actually derived from his hometown "Shake Rag" in Bowling Green, Kentucky. Ben Harney, another Kentucky native, is often credited for introducing music to the mainstream public. His first ragtime composition, "You Have Become a Good Old But You Are Broke Down", helped to popularize the style. The composition was published in 1895, a few months after Ernest Hogan's "La Pas Ma La." Ragtime is also a modification of the march style popularized by John Philip Sousa, with the addition of polyrhythms derived from African music. Ragtime composer Scott Joplin ( ca. 1868-1917) became famous through the publication of "Maple Leaf Rag" (1899) and a series of ragtime hits such as "The Entertainer" (1902), though he was later forgotten by all but a dedicated small community of ragtime fans until a major ragtime revival in the early 1970s. At least for 12 years after publication, "Maple Leaf Rag" greatly affects the next ragtime composer with melodic lines, harmonic developments or metric patterns.
Ragtime fell out of favor because jazz claimed the public imagination after 1917, but there has been much revival since music has been rediscovered. First in the early 1940s, many jazz bands began to incorporate ragtime in their repertoire and released a ragtime record on 78 rpm recordings. A more significant revival occurred in the 1950s as a wider variety of ragtime genres available in the notes, and new fabrics were compiled, published and recorded. In 1971, Joshua Rifkin issued a compilation of Joplin's work that was nominated for a Grammy Award. In 1973 The New England Ragtime Ensemble recorded the Red Book Back, a compilation of several Joplin fabrics in a period of orchestra edited by conservatory president Gunther Schuller. It also won the Grammy for Best Chamber Music Performance this year and was named Billboard 'Top Classic Album 1974. Next, The Sting (1973) film brought ragtime to a wide audience with Joplin soundtrack. Render film "The Entertainer", adapted and arranged by Marvin Hamlisch, was a Top 5 hit in 1975.
Ragtime - with Joplin's work on the front lines - has been referred to as the American equivalent of Mozart minuets, Chopin mazurka, or waltz from Brahms. Ragtime also influenced classical composers including Erik Satie, Claude Debussy and Igor Stravinsky.
Maps Ragtime
Historical context
Ragtime came from African American music in the late 19th century and was derived from jig and march music played by African American bands, referred to as "piano thumping". At the beginning of the 20th century, it became very popular throughout North America and was heard and danced, performed, and written by people from different subcultures. Clearly American musical style, ragtime can be considered synthesis of African syncope and European classical music, especially the popular parade by John Philip Sousa.
Some early piano cloths were titled parades, and "jigs" and "fabrics" were used interchangeably in the mid-1890s. Ragtime is also preceded by a close family of cakewalk. In 1895, Ernest Hogan's black entertainer composed the first two pieces of music, one of which (All Coons Look Alike to Me) eventually sold a million copies. Another composition called La Pas Ma La is also a hit. As black musician Tom Fletcher has said, Hogan is "the first person to wear the type of rhythm played by a musician who does not read." While the success of the song helped introduce the state to ragme ragtime, its use of racial insults creates a number of degrading imitation tones, known as "coon songs" because they use racist images and black stereotypes. In recent years of Hogan, he acknowledged the shame and sense of "racial treachery" for the song while also expressing pride in helping bring ragtime to a larger audience.
The appearance of adult ragtime is usually dated 1897, the year in which some important early cloth was published. In 1899, Scott Joplin's "Maple Leaf Rag" was published and became a big hit and showed depth and sophistication over previous ragtime. Ragtime is one of the main influences on early jazz development (along with blues). Some artists, such as Jelly Roll Morton, present and perform both ragtime and jazz styles over a period of two overlapping styles. He also incorporated the Spanish Tinge in his performance, which gave the habanera or tango rhythm to his music. Jazz greatly surpassed ragtime in mainstream popularity in the early 1920s, although the composition of ragtime continues to be written to date, and the periodic revival of popular interest in ragtime occurred in the 1950s and 1970s.
The heyday of ragtime occurs before the sound recording is widely available. Like classical music, and unlike jazz, classic ragtime has and mainly has a written tradition, which is distributed in sheet music rather than via recording or by imitating live performances. Ragtime music is also distributed through a piano roll for player pianos. The ragtime tradition of the people also existed before and during the classical ragtime period (the title largely made by publisher Scott Joplin, John Stillwell Stark), manifests itself largely through bands of string, banjo and mandolin (which experienced a popularity boom during the early 20th century) and the like.
A form known as novelty piano (or new ragtime) appears when traditional fabrics begin to fade. Where traditional ragtime relies on amateur pianists and sales of sheet music, new clothes make use of new advances in piano-roll and phonograph technology to allow for more complex, pyrotechnic, and performance-oriented styles of fabric to be heard. Head among the new novel composers is Zez Confrey, whose "Kitten on the Keys" popularized the style in 1921.
Ragtime also serves as the root for piano steps, a more popular piano style popular in the 1920s and 1930s. The ragtime elements found their way into many American popular music in the early 20th century. It also played a central role in the development of a musical style which came to be called the Piedmont blues; indeed, most of the music played by stylish artists such as Reverend Gary Davis, Blind Boy Fuller, Elizabeth Cotten, and Etta Baker can be referred to as "ragtime guitars."
Although most ragtime is composed for pianos, transcriptions for instruments and other ensembles are common, most notably including the Günther Schuller arrangement of Joplin fabrics. The Ragtime guitar continued to be popular into the 1930s, usually in the form of songs accompanied by the work of skilled guitars. Many of the notes come from several labels, performed by Blind Blake, Blind Boy Fuller, Lemon Jefferson, and others. Sometimes ragtime scores for ensembles (especially bands and brass bands) are similar to James Reese Europe or songs such as those written by Irving Berlin. Joplin has an old ambition to synthesize the world of ragtime and opera, which eventually opera Treemonisha was written. But his first appearance, poorly performed with Joplin accompanying the piano, was a "catastrophe" and it was never fully done again in Joplin's lifetime. In fact, the score disappeared for decades, then rediscovered in 1970, and a fully organized and staged show took place in 1972. A previous opera by Joplin, A Guest of Honor, has been lost.
Musical form
The fabric is a modification of the parade made popular by John Philip Sousa, with the addition of polyrhythms derived from African music. It is usually written in 2/4 or 4/4 time with the dominant left pattern of bass tones on a strong tap (taps 1 and 3) and a chord on the weak beat (beat 2 and 4) accompanying the syncope melody in the right hand. According to some sources, the name "ragtime" may come from "uneven rhythm or syncope" from the right hand. Fabrics written within 3/4 are "ragtime waltz."
Ragtime is not "time" (meter) in the same sense that the time of march is 2/4 meter and waltz time is 3/4 meter; this is more of a musical style that uses effects that can be applied to any meter. The hallmark of ragtime music is a special type of syncopation in which a melody accent appears between beats. This results in a melody that seems to avoid some beat of accompaniment by emphasizing notes that either anticipate or follow a tap ("the rhythmic basis of metric affirmations, and the melody of metric rejection"). The main (and intended) effect on the listeners is actually to highlight the tap, thereby encouraging the listener to switch to music. Scott Joplin, the composer/pianist known as "King of Ragtime", called the effect "strange and intoxicating." He also uses the term "swing" in describing how to play ragtime music: "Play slowly until you catch a swing...". The swing name then came to be applied to the early jazz style developed from ragtime. Changing the non-ragtime music part to ragtime by changing the time value of the melody note is known as "ragging" the piece. The original piece of ragtime usually contains several different themes, four being the most common. These themes are usually 16 bars, each theme is divided into four-bar four-bar periods and arranged in repetition and replication patterns. Typical patterns are AABBACCC ?, AABBACCDD and AABBCCA, with the first two strains in the tonic keys and the following strains in the subdominant. Sometimes the fabric will include introductions of four bars or bridges, between themes, anywhere between four and 24 bars.
Related shapes and styles
Ragtime pieces come in a variety of styles during the years of its popularity and appear under a number of different descriptive names. This is related to some previous musical styles, has a close relationship with more recent musical styles, and is associated with some musical "modes" from periods such as foxtrot. Many of the terms associated with ragtime have improper definitions, and are defined differently by different experts; the definition is more chaotic by the fact that publishers often label pieces for moments of fun rather than actual composition styles. There is even disagreement about the term "ragtime" itself; Experts such as David Jasen and Trebor Tichenor chose to exclude ragtime songs from the definition but included piano novelty and piano stepping (modern perspectives), while Edward A. Berlin included ragtime songs and excluding newer styles (which is closer to how ragtime is viewed initially). The terms below should not be considered appropriate, but merely an attempt to elaborate the general meaning of the concept.
- Cakewalk - a popular pre-ragtime dance form until about 1904. This music is meant to represent an African-American dance contest where the prize is a cake. Many of the earliest fabrics are cakewalks.
- March Characteristics - a march that combines an idiomatic touch (such as syncopation) that is said to be a characteristic of their subject race, which is usually African-American. Many of the early fabrics are typical parades.
- Two steps - a popular pre-ragtime dance form until about 1911. A large number of fabrics are two steps.
- Slow drag - another dance form related to initial ragtime. A number of simple fabrics are slow drags.
- Coon song - a popular pre-ragtime vocal form until about 1901. A song with rough, racist lyrics is often sung by white players on black faces. Gradually die for the song ragtime. It was strongly associated with ragtime in his day.
- Ragtime Song - ragtime vocal form, more common in theme than coon song. Although this is the most common form of music considered "ragtime" in its day, many people today prefer to include it in the category of "popular music". Irving Berlin is the most commercially successful composer of ragtime songs, and its "Alexander's Ragtime Band" (1911) is the most playable and recorded single of this type, though almost no syncopation of ragtime. Gene Greene is a famous singer in this style.
- People ragtime - ragtime coming from a small town or assembled from people's tension, or at least sounding as if they did it. Folk rags often have unusual color features that are typical of composers with non-standard training.
- Classic fabrics - Missouri-style ragtime popularized by Scott Joplin, James Scott, and others.
- Fox-trot - a dance mode that started in 1913. Tricks of rhythm dotted differently from ragtime, but which remain incorporated into many of the final rags.
- New piano - a piano composition that emphasizes speed and complexity, which emerged after World War I. Almost exclusively is the domain of white composers.
Stride piano - piano style that emerged after World War I, developed by and dominated by black East-coast pianists (James P. Johnson, Fats Waller and Willie 'The Lion' Smith). Together with a new piano, it may be considered a replacement for ragtime, but is not considered by everyone as "authentic" ragtime. Johnson composed a song that was arguably most closely related to the Roaring Twenties, "Charleston." The Johnson tapes play the song appeared on James P. Johnson's compact disc: Harlem Stride Piano (Jazz Archive No. 111, EPM, Paris, 1997). Johnson's recorded version has a sense of ragtime.
America, pre-1940, ragtime composer
By far the most famous ragtime composer is Scott Joplin. Joseph Lamb, James Scott, and Joplin, together, are recognized as the three most advanced ragtime composers. Other leading ragtime composers include Jelly Roll Morton, Eubie Blake, Charles L. Johnson, Tom Turpin, May Aufderheide, Lyons and Yosco, Mike Bernard, George Botsford, Zez Confrey, Sidney L. Perrin, Ben Harney, Luckey Roberts, Irving Jones, James P. Johnson, Paul Sarebresole, Joe Jordan, Fred S. Stone, and Wilbur Sweatman.
Influence on European composers
The classical European composer is influenced by form. The first contact with ragtime was probably at the Paris Exhibition in 1900, one of the European tour stages of John Philip Sousa. The first leading classical composer to pay serious attention to ragtime is AntonÃÆ'n Dvo? ÃÆ'¡k. French composer Claude Debussy mimics ragtime in three parts for the piano. The most well-known remains are the Golliwog's Cake Walk (from 1908 Piano Suite Children's Corner ). He then returned to style with two prelude to the piano: Minstrels, (1910) and General Lavine-excentric (from 1913 Preludes), which was inspired by the MÃÆ'Â © drano circus clown.
Erik Satie, Arthur Honegger, Darius Milhaud, and other members of the Group of Six in Paris never kept their sympathy for ragtime, which is sometimes evident in their works. Consider, in particular, Satie's ballet, Parade (Ragtime du Paquebot), (1917) and La Mort de Monsieur Mouche , introduction of piano to drama in three acts, composed in early 1900 to remember his friend JP Contamine de Latour. In 1902 the American cakewalk was very popular in Paris and Satie two years later wrote two fabrics, La Diva de l'empire and Piccadilly . Apart from the two Anglo-Saxon settings, the tracks seemed inspired by America. La Diva de l'empire , a march for a solo piano player, written for Paulette Darty and originally inscribed Stand-Walk Marche ; it was subsequently given the subtitle Intermezzo Americain when Rouarts-Lerolle reprinted in 1919. Piccadilly , another march, originally titled The Transatlantique ; it presents an American heir who is rich in stereotypes sailing on a ship on the New York-Europe route, will trade his fortune for an aristocratic title in Europe. There was a similar influence in Milhaud's ballad of Le Boeuf sur le toite and Creation du Monde, which he wrote after a trip to Harlem during his journey in 1922. Even the Swiss composer Honegger wrote a work in where the influence of African American music is quite clear. Examples include Pacific 231 , Prà © à © lude et Blues and especially Concertino for piano and orchestra.
Igor Stravinsky wrote a solo piano work called Piano-Rag-Music in 1919 and also incorporated a cloth in his theater section L'histoire du soldat (1918).
Maurice Ravel is said to have heard Jimmie Noone and his group performing in Chicago. Despite the inaccurate anecdotes, Ravel's involvement with jazz is unquestionable, as it affects many of his important works, such as fox-runs from L'enfant et les sortilÃÆ'¨ges, blues of the Sonata for violin and piano , Concerto di G and Concerto for left hand , both composed for piano in 1931.
From the 1960s, Swedish composers produced ragtime, mainly Peter Lundberg, Sune "Sumpen" Borg, Peter Andersson, Ragnar Hellspong, Oscar Janner, Oleg Mezjuev, Joakim StenshÃÆ'¤ll, Kimo Viklund, and Kjell Waltman.
Revivals
In the early 1940s, many jazz bands began to incorporate ragtime in their repertoire, and since 1936 78 rpm recording compositions of Joplin were produced. Old numbers written for the piano were saved for jazz instruments by jazz musicians, who gave the old style a new sound. The most famous recording of this period is the Pee Wee Hunt version of "Twelfth Street Rag" by Euday L. Bowman.
More significant revival occurred in the 1950s. A wider variety of ragtime styles from the past is available in the notes, and new rags are compiled, published, and recorded. Most of the ragtime recorded in this period is presented in a light new style, viewed with nostalgia as a product of supposedly more plain timing. A number of popular recordings featured "ready pianos," playing rags on piano with nails on hammers and deliberately somewhat out of tune instruments, supposed to simulate piano sounds on old honky tonk.
Four events gave rise to a different ragtime revival in the 1970s. First, pianist Joshua Rifkin performed the compilation of Scott Joplin, Scott Joplin: Piano Rags, on Nonesuch Records, nominated for a Grammy Award in "Best Classical Performance - Instrumental Soloist (s) without the" Orchestra "category on in 1971. This recording reintroduces Joplin's music to the public in the manner intended by the composer, not as a nostalgic stereotype but as a serious and respectable music.2 Second, the New York Public Library released two volumes of "Collected Works from Scott Joplin," which renewed interest in Joplin among musicians and encouraged the new spear of Joplin opera Treemonisha.Next was the Grammy Award and release for The New England Ragtime Ensemble on Joplin Red Book, in 1973, which has a Marvin Hamlisch soundtrack of Joplin songs originally edited by Gunther Schuller, ragtime brought to the audience US. Hamlisch's appearance in 1902 Joplin "The Entertainer" won an Academy Award, and was a Top 40 American hit in 1974, reaching # 3 on May 18th.
The significant ragtime composers from the mid to late 20th century included Max Morath, William Bolcom, Trebor Tichenor, David Thomas Roberts, and Reginald Robinson.
In 1998, the historical novel adaptation of E. L. Doctorow Ragtime was produced on Broadway. With music by Stephen Flaherty and lyrics by Lynn Ahrens, the show features some rags as well as songs in other musical styles.
Many modern musicians have begun to discover ragtime and put it into their musical repertoire. Such acts include Jay Chou, Curtains for You, Baby Gramps, and Bob Milne.
See also
Note
References
Further reading
- Berlin, E.A. (1980). Ragtime: music and cultural history . California: University of California Press.
- Blesh, R.; Janis, H. (1971). They all play ragtime, 4th edition . Oak Publications.
- De Stefano, Gildo; Baraka, Amiri (2007). Ragtime, jazz & amp; dintorni . Milan: SUGARCO Edition. ISBN: 978-88-7198-532-9.
- Jasen, D.A.; Tichenor, T.J. (1980). Fabrics and ragtime . Dover.
- Schafer, W.J.; Riedel, J. (1973). Art ragtime: the form and meaning of original American black art . Louisiana: Louisiana State University Press.
- Waldo, Terry (2009). This is Ragtime . Jazz Library Edition at Lincoln Center.
External links
- Classic Ragtime Piano by Ted Tjaden
Source of the article : Wikipedia
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