![]() Columbia: University of Missouri Press, 1994. Dancing to a Black Man's Tune: A Life of Scott Joplin. New York: Oxford University Press, 1994.Ĭurtis, Susan. The King of Ragtime: A Biography of Scott Joplin. (accessed January 7, 2002).īerlin, Edward. "A Biography of Scott Joplin." The Scott Joplin International Ragtime Foundation. Garden City, NY: Doubleday, 1978.īerlin, Edward. The success of the film, which won many Academy Awards, initiated a ragtime renaissance.īenson, Kathleen, and James Haskins. Scott Joplin was long forgotten by the public at the time of the release of The Sting (1973), a film whose score consisted of Joplin rags. Unfortunately, Treemonisha was performed only once during Joplin's lifetime, in 1915. Dolly Connolly (born Chicago Decem died New York November 30, 1965) was perhaps the most beautiful of the famous ragtime singers and had marked out a steady career for herself in vaudeville when she met up and coming composer and accompanist Percy Wenrich, a handsome but rather shy and nerdy fellow who became a pop music genius. During the final decade of his life, he worked on Treemonisha (1911), a second ragtime opera, whose key theme was the desperate need for education within the African American community. His more important compositions-which, predictably, were not his most popular in the mass market-included The Ragtime Dance (1902), a ragtime ballet, and The Guest of Honor (1903), a ragtime opera. He viewed himself not as a writer of popular music, however, but as a serious composer. Joplin earned his living from sheet music sales and by teaching and performing. It was followed by "Peacherine Rag" (1901), "Augustan Club Waltz" (1901), "A Breeze from Alabama" (1902), "Elite Syncopation" (1902), "The Entertainer" (1902), "The Strenuous Life" (1902), "Gladiolus Rag" (1907), "Pine Apple Rag" (1908), and "Solace-A Mexican Serenade" (1909). Joplin's compositions soon were published during his lifetime, his most fabled was "Maple Leaf Rag" (1899). Smith College for Negroes and became a member of the Queen City Band, an all-black group that performed at public and private events. In the 1890s, he found himself in Sedalia, Missouri, where he took music courses at the George R. Although his recordings didn’t exist, his status as one of history famous jazz piano players is assured, thanks to piano sheet music from the time. And in his heyday (first years of the 20s), he was crowned King of Ragtime. ![]() He blended all of these influences into his own rhythmically adventurous brand of music, which he began performing while still an adolescent. His style represents the earliest predecessor of jazz, in the shape of the classic ragtime. He began playing the piano and studied music with a German-born teacher, from whom he learned the manner in which European musical compositions were structured. ![]() While growing up in Texas amidst a family of sharecroppers, Joplin heard-and was influenced by-African American work songs and spirituals as well as European waltzes and marches. At the time, it was labeled "the folk music of the American city," and Joplin was famed as the "King of Ragtime Writers." ![]() Ragtime is a lively, melodic style of music that, at the turn of the twentieth century, was acknowledged as fresh and uniquely American. When one thinks of ragtime, one thinks of Scott Joplin, a pioneering African American musician and composer. ![]()
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