Tag Archives: Scott Joplin

“Magnetic Rag”: a comparison

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In class, we compared different recordings Scott Joplin’s “Maple Leaf Rag,” both from piano rolls played by the composer himself and from other musician’s renditions of the song. I thought this was an interesting exercise, especially getting to hear the music performed by the composer. Scott Joplin performed other songs on piano rolls as well, one of which was “Magnetic Rag.”

As you listen, follow along with this copy of sheet music from 1922.

Click the image to view the sheet music.

Some things that I wanted to listen for were swung rhythms, articulation, and other stylistic touches that are not represented in the sheet music. The recording from the piano roll does not have swung rhythms per se, but the syncopation does give the music a distinctly swung feel. Something I noticed right away was the change in tempo in the few lines that can be heard on the piano roll but are not indicated in the sheet music. The first four measures are slower, and the section that begins at the first repeat is basically double the speed. Additionally, in the fourth measure, the rests shown in the sheet music cannot be heard in the piano roll.

When the first section after the intro is repeated, the piano roll deviates from the sheet music. Specifically, the right hand is an octave up. This technique is used again in subsequent sections. Throughout the piece, the repeated sections are shorter than in the sheet music. Generally, the performed version has more embellishments than the sheet music (which I suppose is somewhat common). However, I do notice that there is no arranger mentioned on the sheet music, which is often the case today when a new version of a song is published. Overall, there are not many instructions to the performer such as dynamics and articulations, however I’m not sure if that would have been typical of sheet music published at this time.

This sheet music is from 1922, while Scott Joplin made the piano rolls in 1916. The song “Magnetic Rag” was composed in 1914, so there is a significant amount of time between the creation of the piano roll and the publishing of the sheet music. Importantly, Joplin sadly died the year after the piano rolls were taken, and unless this is a reprint of other sheet music, he would not have seen this version. I think this is example is an interesting look at the variable aspect of this music, and it makes me wonder again about the issue of “authenticity” in music… it is useful to consider which version of the music is “more authentic.” I think it is very possible that Joplin has performed this piece differently at different times, and I would be interested to see the original version that Joplin wrote and how it compares to subsequent publishings.

Scott Joplin. “Magnetic Rag.” Jack Mills, inc., 1922. https://digital.library.yorku.ca/node/1095584.

Ragtime and its Haitian Ties

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Audra McDonald – Your Daddy's Son Lyrics | Genius Lyrics

Ragtime is a syncopated musical style that was evolved by African American musicians which peaked between the 1890’s and 1910’s. It was often played on the piano with accented accompaniment. Ragtime regained popularity once again in the early 20th century through composers such as Scott Joplin, and African American composer and pianist. Ragtime is at times associated with jazz, however an argument is made that due to the absence of improvisation, it cannot be considered jazz. The presence of the ragtime phenomenon has made an impact on the composition and entertainment industry for over a century. Although African American musicians played a large role in the culture surrounding ragtime, their community was also made to feel insulted due to the minstrel show tendencies that became popularly associated with it.

In class we covered "Alexander's Ragtime Band"<1> which is a song by Irving Berlin released in 1911 and was his first major hit. There was later a musical film released named after it, telling the story of a boy who pursues a career in ragtime instead of a more respected form of music. The 20th century Broadway production Ragtime the Musical Another gained popularity. One of the songs projected in the musical is "Your Daddy's Son" and can be found at minute at 3:42 on the Audio CD of Ragtime: The Musical, which tells the heart wrenching story of a mother who buries her child in the ground after the father of her baby leaves her.<2>

Haiti being a predominantly African descent population at approximately 95 percent, has also been impacted through the outreach of ragtime.<3> The US relations with Haiti from 1915 reached political measures when President Woodrow Wilson had Haiti sign a treaty "that would protect foreign lives and property during Haiti's fifth revolution in four years" and discuss the Haitians take on the political atmosphere at the time. Music itself can be seen to have a powerful impact of nations such as Haiti and the African American population in which in resides. <4>

  1. “Alexander’s Ragtime Band.” n.d. Library of Congress, Washington, D.C. 20540 USA. Accessed November 2, 2023. https://www.loc.gov/item/jukebox-130931/.<1 >
  2. McNally, Terrence, Lynn Ahrens, Brian Stokes Mitchell, Peter Friedman, Marin Mazzie, Audra McDonald, Mark Jacoby, David Loud, John Mauceri, and E. L. Doctorow. Ragtime : the Musical. New York, N.Y: RCA Victor, 1998.<2>
  3. WEISBERGER, BA. RAGTIME DIPLOMACY + UNITED-STATES INVOLVEMENT IN HAITI IN THE EARLY-20TH-CENTURY. American Heritage. Vol. 45. NEW YORK: Amer Heritage Subscription Dept, 1994.<3>
  4. Weisberger, Bernard A. Ragtime Diplomacy. American Heritage. Vol. 45. New York: American Heritage Publishing Company, 1994.<4>

From Rags to Riches: How Ragtime Entered the American Canon

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A poem entitled “Ragtime” from the Washington Star, 1913

Ragtime, from Scott Joplin to Jelly Roll Morton, has been deeply integral to America’s sense of musical identity.  Also known as “jig piano” In the late 1800’s, black musicians would travel to bars and saloons to perform “ragged” versions of popular tunes.  Although ragtime as a genre would not be formerly recognized until the very end of the 19th century, this was the true infancy of ragtime as a genre1.  Ragtime existed under the radar of the general public as it was a mostly oral tradition that existed within the black community at the time, although white people were exposed to the genre as an accompaniment to minstrel shows2.  It wasn’t until the 1893 World’s Fair in Chicago where ragtime started to garner attention from the white masses, with artists such as Joplin performing their rags to crowds who had likely never heard the genre before.

1893 World’s Fair in Chicago

As white people became hip to the genre, white musicians began to imitate their black contemporaries and transcribed simplified versions of rag melodies for public purchase, and thus, “ragtime” as an established American genre was born.  This isn’t to say that ragtime was completely beloved by the American public.  Because of its iconic use of syncopation, and its origin as a form of Black American Music, ragtime was initially met with resistance from musical conservatives.  Its detractors, who worshipped the canon of Western European classical music, saw ragtime as a scourge on the genre, lacking harmony for the sake of bizarre, chopped rhythm.  This sentiment was shared by many white composers at the time.  Leo Oehmler, a composer and violinist wrote in a periodical in a 1914 issue of the Musical Observer, “Let us take a united stand against the Ragtime Evil as we would against bad literature, and horrors of war or intemperance and other socially destructive evils. In Christian homes, where purity of morals is stressed, ragtime should find no resting place. Avaunt with ragtime rot! Let us purge America and the Divine Art of Music from this polluting nuisance”3.

https://www.youtube.com/watch?v=PYrlKGYUcBM

As shown in the somewhat tongue-in-cheek periodical at the top of this post, even those that were fans of ragtime saw it as a risqué genre, even it if was irresistible: “We stoutly disapprove it/ And we threaten to remove it/ But it gets us all a-dancing all the same” 4.  White audiences saw ragtime music as a sort of forbidden fruit; an attitude that would extend to jazz and other forms of Black American Music throughout the 1900’s.

 

 

 

Citations

Star, Washington. 1913. “Ragtime.” Life (1883-1936), Jun 26, 1278. https://www.proquest.com/magazines/ragtime/docview/90727291/se-2.

Hatt, Nicholas Ryan. 2018. “A Portrait of Diversity: Exploring Underrepresented Violin Literature of the United States from 1893-1916.” Order No. 10784520, The Florida State University. https://www.proquest.com/dissertations-theses/portrait-diversity-exploring-underrepresented/docview/2102140606/se-2.

Harer, Ingeborg. “Defining Ragtime Music: Historical and Typological Research.” Studia Musicologica Academiae Scientiarum Hungaricae 38, no. 3/4 (1997): 409–15. https://doi.org/10.2307/902493.

Sabatella, Matthew. 2022. “Ragtime: About the Genre.” Ballad of America.
https://balladofamerica.org/ragtime/#roots-of-ragtime
1 Sabatella, Matthew. 2022. “Ragtime: About the Genre.” Ballad of America. https://balladofamerica.org/ragtime/#roots-of-ragtime

2 Harer, Ingeborg. “Defining Ragtime Music: Historical and Typological Research.” Studia Musicologica Academiae Scientiarum Hungaricae 38, no. 3/4 (1997): 409–15. https://doi.org/10.2307/902493.

3 Hatt, Nicholas Ryan. 2018. “A Portrait of Diversity: Exploring Underrepresented Violin Literature of the United States from 1893-1916.” Order No. 10784520, The Florida State University. https://www.proquest.com/dissertations-theses/portrait-diversity-exploring-underrepresented/docview/2102140606/se-2.

4 Star, Washington. 1913. “Ragtime.” Life (1883-1936), Jun 26, 1278. https://www.proquest.com/magazines/ragtime/docview/90727291/se-2.

 

Ragtime and the Stark Music Company

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Ragtime is a genre of music created by Black pianists that was popular between 1890 and 1920. Known by such a name due to its highly syncopated nature (which was originally referred to as “ragging the time”), ragtime emerged initially in the Mississippi Valley as bar, cabaret, and club music played by “piano-thumping… black piano professors” (1) that was mostly improvisatory. This early ragtime was referred to as jig music, and was all but shunned by white populations. During the Chicago World Fair, many Black jig piano players were hired to play music written by white composers at Fair events, but they were not allowed to play their own music. As a result, they would play in the clubs, saloons, and other social spaces around the perimeter of the fair, which is where their music thrived (1).

It wasn’t until 1895 when the first ragtime tune, “La Pas La Mas”, was transcribed and actually published, starting a new subgenre within ragtime known as classic rag (2). Classic rag was published as sheet music and was not intended to be improvised off of; it was designed to be played exactly as written. Arguably the most famous classic rag composer was Scott Joplin, with his “Maple Leaf Rag” being the most popular of his works (3).

Cover art and first page of Stark Music Co.’s version of Joplin’s “Rag-Time Dance”. Full PDF here (5).

Like many composers of classic rag, Joplin was initially a jig pianist who then ventured into classic rag. In 1898, he first began submitting scores to publishing companies, but it wasn’t until meeting John Stillwell Stark, a white music publisher and music store owner, and playing for him in his store in 1899 that he entered a publishing contract. For Stark, this was the first Black and first ragtime composer he conducted business with (3), and this proved to be extremely profitable. The “Maple Leaf Rag”, Joplin’s first work published by Stark, is considered one of the first hit songs on sheet music and sold over 500,000 copies in the first 10 years of its publication (4).

With Joplin’s massive success, Stark decided that if he were going to sell more ragtime music, he would focus on publishing classic rag. Ragtime was a largely Black genre, and, predictably, Stark did not want to be seen as someone who particularly uplifted Black voices, and said that he “[advocated] no class of music”, but alternatively a publisher popular music and anything he thought to be “interesting or useful”, and ragtime just so happened to fit into those boxes. Stark didn’t just limit his classic rag roster to Joplin, but to other accomplished names like James Scott and Joseph Francis Lamb, as well as several of Joplin’s protégés. This turned his company into the primary supporter of and place to purchase ragtime music (2).

Cover art and first page of Stark Music Co.’s version of Lamb’s “Cleopatra Rag”. Full PDF here (6).

One result of the Stark Music Company churning out works by a star-studded list of ragtime composers was the spread of ragtime into white households and communities as a palatable morsel of Black American culture. The acceptance of ragtime seems to have been just another example of Black culture being appropriated and taken advantage of among the many that comprise American music history. One could argue that Stark’s opinion of neutrality rather than support could have been a factor in this, but I doubt Stark was influential enough himself to have significantly challenged his white audience’s overwhelmingly racist views.

Sources

(1) “From Piano Thumping to the Concert Stage: The Rise of Ragtime.” Music Educators Journal 59, no. 8 (1973): 53–56. https://doi.org/10.2307/3394278.

(2) Tichenor, Trebor Jay. “John Stillwell Stark, Piano Ragtime Publisher: Readings from ‘The Intermezzo’ and His Personal Ledgers, 1905-1908.” Black Music Research Journal 9, no. 2 (1989): 193–204. https://doi.org/10.2307/779423.

(3) Reed, Addison. “Scott Joplin, Pioneer: Part 2.” The Black Perspective in Music 3, no. 3 (1975): 269–77. https://doi.org/10.2307/1214012.

(4) “John Stark, 1841-1927.” The Library of Congress. LOC. Accessed October 19, 2022. https://www.loc.gov/item/ihas.200035817/. 

(5) Joplin, Scott. “Rag-Time Dance”. Sheet Music Consortium. St. Louis, MO: Stark Music Co., 1906. https://scholarsjunction.msstate.edu/cgi/viewcontent.cgi?article=3681&context=cht-sheet-music. 

(6) Lamb, Joseph F. “Cleopatra Rag”. Sheet Music Consortium. St. Louis, MO: Stark Music Co., 1915. https://scholarsjunction.msstate.edu/cgi/viewcontent.cgi?article=3482&context=cht-sheet-music.

Jazz at St. Olaf

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Lentjazz It seems St. Olaf has been hesitant to embrace Jazz as a sound musical genre, especially in regard to liturgical music. In this 1968 article of the Manitou Messenger, Ms. Berglund summarized a student jazz liturgy setting performed in chapel and asks questions that point to Jazz as a potentially profane and intrusive art form for worship. “Is jazz profaned by its association with night-clubs or can it also be a song of praise?”[1]

jazzarticle

Contrast this with an article from 1977, when The Preservation Hall Jazz Band visited St. Olaf in what the Manitou Messenger calls the “most enthusiastically received concert at St. Olaf.”[2] The Preservation Hall Jazz Band is made up of a pool of musicians that rotate over the years, but was started by Allan and Sandra Jaffe in 1961 New Orleans, who were interested in preserving the traditional jazz style free from commercial imperatives.[3] Becoming famous by touring and recording, Preservation Hall is internationally known and remains one of the popular tourist sites of New Orleans, so of course it was a big deal that they came to our humble little bubble at St. Olaf.

jazzstolaf

The writer goes on to say that “everybody has heard Dixieland jazz before, but this concert gave us all a chance to see and hear a jazz band doing it the way it was originally done. This style influenced every form of American music since 1900, from Joplin’s rags to Chicago’s rock.” Perhaps due to a lack of curriculum on jazz at St. Olaf at the time, or general lack of scholarship, the writer has a misconception that jazz influenced ragtime, when in reality the syncopated rhythms of ragtime along with the blues style are cited as the origins of jazz. In addition, to assume that the concert of 1977 was a presentation of how jazz was originally done is a pretty bold claim, considering any time a performance claims some kind of authenticity, there are certain details/styles included and excluded. These two examples suggest St. Olaf is not a little bubble, filled with scholarly prowess and immune to the world’s ideals. The stereotypes about the origins of jazz and its perceived development as a “profane” style pervade music history as well as St. Olaf history. We can’t say St. Olaf, as an academic and music institution, was above these problematic notions about Jazz then, so my question is, has much changed?

[1] Marcie Berglund, “Lent services feature Heckman’s jazz liturgy,” Manitou Messenger, March 1, 1968.

[2] Mike Stiegler, “Original Jazz Preserved for Olaf Audience,” Manitou Messenger, March 4, 1977.

[3]  Grove Dictionary of American Music, 2nd ed, s.v. “Preservation Hall Jazz Band.”

What sells sheet music?

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Have you ever noticed that many ragtime tunes sound the same? Listen to the following two clips for their similar harmonic motion/progressions, the similarity in rhythmic syncopation/complexity, and form. Each have a general intro and short repeated sections, which unless you have become very familiar with the tune are very hard to remember.

The Felicity Rag:

felicityrag

The Ragtime Goblin Man:

ragtimegoblin

How is it possible that publishing companies could sell something so similar sounding and make it popular? It is clear that the Felicity Rag’s cover draws on minstrel like, simian caricatures, while the Ragtime Goblin Man has an enticing cover with a devil-like character controlling two musicians who according to the lyrics will get caught by the goblin and be made to join his ragtime band. Even thought the tunes’ striking similarity make them seem unmarketable, they have been made unique and sensationalized by their evocative front cover art and titles/lyrics. Publishers, composers, and artists who could appeal to the popularity of minstrelsy, the exotic, or the romantic, had successful marketing strategies for popular music. On one hand, it is problematic to have popular tunes, that “represent” different meanings, sound the same because there is a whole lot more complexity to music across cultural/racial/imaginative boundaries. On the other hand, it would be inappropriate to put a minor mode or augmented second in the ragtime tune that is named for Jewish culture or another Other as was done in Schultzmeier Rag, a Yiddish novelty.172.106.000.webimage

Now, thinking about today’s popular music, with similar harmonic progressions, rhythmic variations, and subjects, the marketing strategies really haven’t changed that much. When you think about the image sold with the music, whether it is the caricatured lifestyle of a celebrity, or the sensational lyrics, today’s popular music continues these successful marketing strategies at the expense of perpetuating problematic stereotypes.