The Sources and Resources of Classic Ragtime Music

Floyd, Samuel A.; Reisser, Marsha J.

doi:10.2307/779473

Cited by 11 publications

(4 citation statements)

References 15 publications

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“…The static 2nd-inversion B chord provides the tonal context within which the pentatonic-constrained Treemonisha theme emerges. As described above, Floyd and Reisser (1984) show that the pentatonic collection is an important ragtime retention from African music. Crafting a pentatonic melody within a major-diatonic pitch universe requires suppressing both the seventh and fourth scale degrees.…”

Section: Analysis Of Joplin's Ragsmentioning

confidence: 77%

Reframing Generated Rhythms and the Metric Matrix as Projections of Higher-Dimensional Lattices in Scott Joplin’s Music

Hahn

2021

MTO

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Generated rhythms and the metric matrix can both be modelled by time-domain equivalents to projections of higher-dimensional lattices. Scott Joplin’s music is a case study for how these structures can illuminate both musical and philosophical aims. Musically, lattice projections show how Joplin creates a sense of multiple beat streams unfolding at once. Philosophically, these structures sonically reinforce a Du Boisian approach to understanding Joplin’s work.

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Section: Analysis Of Joplin's Ragsmentioning

confidence: 77%

Reframing Generated Rhythms and the Metric Matrix as Projections of Higher-Dimensional Lattices in Scott Joplin’s Music

Hahn

2021

MTO

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“…America’s rediscovery of ragtime began in earnest with the publication of the book, They All Played Ragtime (Blesh & Janis, 1950), a work of nonfiction written to popular, not academic, tastes. Ragtime music was disseminated and discussed in wider circles after Joplin’s music was showcased in the 1973 movie, The Sting (Floyd & Reisser, 1984; Joplin, 1973; Nadeau, 1973; Reed, 1975; Shehan, 1986). Marvin Hamlish’s recording of Joplin’s “The Entertainer”—virtually unknown in Joplin’s time—cracked the top of Billboard’s pop and easy listening charts in 1974.…”

Section: The Need For a Modern Joplin Biographymentioning

confidence: 99%

Scott Joplin: A Guide for Music Educators PART I—A Ragtime Life

Friar

2021

General Music Today

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Scott Joplin (1868-1917) was an African American composer and pianist of singular merit and influence. Academic interest in Joplin has increased in recent years, leading to new discoveries about the composer’s activities, yet teaching materials have not been updated at the same pace as 21st-century findings. Joplin was an entrepreneur, a performer, and a philanthropist, yet his biography is often reduced to a “celebratory” narrative of a composer creating toe-tapping music for the masses. Ragtime Lives, the first in a three-part series, presents a modern understanding of the biographical context, which shaped Scott Joplin’s music thought and practice and provides suggested classroom activities for exploring Joplin’s life and works written in accordance with NAfME’s 2014 National Music Standards.

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“…Several authors have pointed to possible connections between African and African-American music:Waterman (1948), Southern (1997,Hamm (1983, pp. 387-9, 393-4),Floyd (1996),Gridley and Rave (1984) andFloyd and Reisser (1984).The origins of syncopation in American popular music…”

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confidence: 99%

The origins of syncopation in American popular music

Temperley

2021

Pop. Mus.

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The origins of syncopation in 20th-century American popular music have been a source of controversy. I offer a new account of this historical process. I distinguish between second-position syncopation, an accent on the second quarter of a half-note or quarter-note unit, and fourth-position syncopation, an accent on the fourth quarter of such a unit. Unlike second-position syncopation, fourth-position syncopation tends to have an anticipatory character. In an earlier study I presented evidence suggesting British roots for second-position syncopation. in contrast, fourth-position syncopation – the focus of the current study – seems to have had no presence in published 19th-century vocal music, British or American. It first appears in notation in ragtime songs and piano music at the very end of the 19th century; it was also used in recordings by African-American singers before it was widely notated.

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The Sources and Resources of Classic Ragtime Music

Cited by 11 publications

References 15 publications

Reframing Generated Rhythms and the Metric Matrix as Projections of Higher-Dimensional Lattices in Scott Joplin’s Music

Reframing Generated Rhythms and the Metric Matrix as Projections of Higher-Dimensional Lattices in Scott Joplin’s Music

Scott Joplin: A Guide for Music Educators PART I—A Ragtime Life

The origins of syncopation in American popular music

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