No full-text available
To read the full-text of this research,
you can request a copy directly from the author.
Scott Joplin: A Guide for Music Educators Part III—Ragtime Spaces
Abstract
Scott Joplin was an African American composer and pianist of singular merit and influence. This article is the final entry in a three-part series considering the biographical, artistic, and cultural contexts of Joplin’s life and work and their use in K–12 general music education. “Ragtime Spaces” focuses on cultural globalization and the modernist entertainment aesthetic which supported Joplin’s work. Scott Joplin’s creative and entrepreneurial activities embodied humanism, racial uplift, and craftsmanship at a time when society became increasingly racially segregated and dehumanized. The discussion is followed by suggested student activities written in accordance with National Association for Music Education’s 2014 National Music Standards.
ResearchGate has not been able to resolve any citations for this publication.
Crowd creativity is typically associated with peer-production communities focusing on artistic products like animations, video games, and music, but less frequently to Open Source Software (OSS), despite the fact that also developers must be creative to come up with new solutions to their technical challenges. In this paper, we conduct a study to further the understanding of which factors from prior work in both OSS and art communities are predictive of successful collaboration - defined as reuse of previous songs - in three different songwriting communities, namely Songtree, Splice, and ccMixter. The main findings from this study confirm that the success of collaborations is associated with high community status of recognizable authors and low degree of derivativity of songs.
In 1901, musician Scott Joplin, the “King of Ragtime,” moved to St. Louis, Missouri, to pursue his composing career. Despite years of neglect and dilapidation, the home Joplin rented during this period was recognized as a National Historic Landmark in 1976 and was subsequently saved from destruction by the local African American community. In 1983, Joplin's home was given to the Missouri Department of Natural Resources to create the first state historic site in Missouri dedicated to African American heritage. Until recently, interpretation of this site has focused primarily on the celebratory history of Scott Joplin and ragtime music, ignoring the urban milieu in which he lived and its influence on his musical compositions. A new community-based heritage project has attempted to expand this historic narrative to include the more complex social history of African American urban migration and the transformation of a multi-ethnic neighborhood to the contemporary community. Part of this diverse narrative includes unpleasant or uncomfortable topics of racial oppression, poverty, sanitation, prostitution, and sexually transmitted diseases. Through frank and open dialogue among museum professionals, scholars, and local residents, efforts are now being made to engage and interpret this “tough” history. The desired outcome is to transform a static historic site into an engaging cultural center that connects a more inclusive past to contemporary concerns of the descendant community.
This article presents an historical analysis of the antitrust laws. Its central contention is that the history of antitrust can only be understood in light of U.S. economic history and the succession of dominant economic policy regimes that punctuated that history. The antitrust laws and a subset of other related policies have historically focused on the negative consequences resulting from the rise, expansion, and dominance of big business. Antitrust specifically uses competition as its tool to address these problems. The article traces the evolution of the emergence, growth, and expansion of big business over six economic eras: the Gilded Age, the Progressive Era, the New Deal, the post–World War II Era, the 1970s, and the era of neoliberalism. It considers three policy regimes: laissez-faire during the Gilded Age and the Progressive Era, the New Deal, policy regime from the Depression through the early 1970s, and the neoliberal policy regime that dominates today and includes the Chicago School of antitrust. The principal conclusion of the article is that the activist antitrust associated with the New Deal that existed from the late 1930s to the 1960s resulted in far stronger economic performance than have the policies of the Chicago School that have dominated antitrust policy since the 1980s.
Academic debate has long surrounded the term 'community,' first defined as a sociological construct in the late nineteenth century. In the 1990s, widespread Internet use disrupted earlier ideas of what defines and bounds community, but there is now general scholarly consensus that online affinity groups can also function as communities, including those focused on any number of different music genres. In this chapter, I posit that online music communities can function as significant spaces of community music activity. This discussion includes contextualizing the online community by drawing on New Media literature on the evolution of online groups, theories, research, and frameworks of online community; illustrations of practice from current online and convergent music communities; the role of social media in online music communities; online music community as community music outreach; and implications for current and future implications for practice.
div class="page" title="Page 1">
The richness and complexity of layered meanings hidden inside Scott Joplin's opera, Treemonisha leaves one wondering. Is it an exception in his opus? Or did he weave a similarly thick web of symbols in other pieces as well?
It is known that The Crush Collision March and Wall Street Rag bear headings pointing to the specific events described—a deliberate train collision organized in September 1896 and the moods unleashed by the October 1907 stock market panic. Also, The Cascades makes reference to actual cascades built for the 1904 St. Louis World Exposition and shown on the original cover. Such facts suggest a consistent approach on Joplin’s part. If so, more evidence might exist.
Actually, this writer detected descriptive elements in Solace and Country Club ; their decipherment was delivered in a video-recorded presentation but not yet committed to paper. The logical next step was, tackling the daunting task of systematically decoding all of Joplin’s titles and covers to go beyond isolated cases and seek evidence of a recurring approach. This research yielded a rich harvest. Its crux, although cumbersome, will ultimately require a comprehensive exposition, as it calls for a unified discussion.
However, Magnetic Rag has a somewhat separate story, that calls for a separate treatment. Readers are thus invited to take this essay as a first morsel of a bigger—and hopefully tempting—musicological banquet.
</div
In 1912 James Reese Europe made history by conducting his 125-member Clef Club Orchestra at Carnegie Hall. The first concert by an African American ensemble at the esteemed venue was more than just a concert—it was a political act of desegregation, a defiant challenge to the status quo in American music. In this book, David Gilbert explores how Europe and other African American performers, at the height of Jim Crow, transformed their racial difference into the mass-market commodity known as “black music.” Gilbert shows how Europe and others used the rhythmic sounds of ragtime, blues, and jazz to construct new representations of black identity, challenging many of the nation's preconceived ideas about race, culture, and modernity and setting off a musical craze in the process. Gilbert sheds new light on the little-known era of African American music and culture between the heyday of minstrelsy and the Harlem Renaissance. He demonstrates how black performers played a pioneering role in establishing New York City as the center of American popular music, from Tin Pan Alley to Broadway, and shows how African Americans shaped American mass culture in their own image. © 2015 The University of North Carolina Press. All rights reserved.
Renowned today as a prominent African-American in music theater and the arts community, composer, conductor, and violinist Will Marion Cook was a key figure in the development of American music from the 1890s to the 1920s. This book looks at his life's story, drawing on his unfinished autobiography and his wife Abbie's memoir. A violin virtuoso, Cook studied at Oberlin College (his parents' alma mater), Berlin's Hochschule für Musik with Joseph Joachim, and New York's national Conservatory of Music with Antonín Dvorák. Cook wrote music for a now-lost production of Uncle Tom's Cabin for the Chicago World's Fair of 1893, and then devoted the majority of his career to black musical comedies due to limited opportunities available to him as a black composer. He was instrumental in showcasing his Southern Syncopated Orchestra in the prominent concert halls of the United States and Europe, even featuring New Orleans clarinetist Sidney Bechet, who later introduced European audiences to authentic blues. Once mentored by Frederick Douglas, Will Marion Cook went on to mentor Duke Ellington, paving the path for orchestral concert jazz. Through interpretive and musical analyses, the book traces Cook's successful evolution from minstrelsy to musical theater. Written with his collaborator, the distinguished poet Paul Lawrence Dunbar, Cook's musicals infused American musical theater with African-American music, consequently altering the direction of American popular music. Cook's In Dahomeym was the first full-length Broadway musical to be written and performed by blacks. Alongside his accomplishments, Cook's contentious side is revealed-a man known for his aggressiveness, pride, and constant quarrels, he became his own worst enemy in regards to his career. The book also sets Cook's life against the backdrop of the changing cultural and social milieu: the black theatrical tradition, white audiences' reaction to black performers, and the growing consciousness and sophistication of blacks in the arts, especially music.
This article examines the previously unstudied history of Chicago's nineteenth-century music saloons, tracing their development from transplanted German beer halls to Americanized entertainment resorts to commercial dance halls. Drawing on evidence from scattered newspaper sources, the article documents women's ubiquitous presence in music saloons as waiters, performers, prostitutes, and patrons and then interprets what their presence reveals about the public role of women in nineteenth century American cities. The women in music saloons asserted considerable social freedom, articulated a public identity that emphasized sexual expressiveness, and helped create a morally ambiguous environment that defied the prevailing Victorian distinctions between respectable and disreputable. In doing so, they helped define what it meant to be a modern city girl. The article also examines the affect that municipal regulation had upon the operation of Chicago's music saloons. City officials restricted the presence of music and women but only periodically enforced the restrictions. The sporadic enforcement never removed women or music for long but nonetheless structured the social and cultural environment of the city's music saloons.
In this paper I examine the music learning and teaching in the Banjo Hangout online music community (www.banjohangout.org/) using cyber ethnographic methods of interview and participant observation conducted entirely through computer-mediated communication, which includes Skype and written narrative texts – forum posts, email, chat room conversations – along with hyperlinks to YouTube and other Internet music-learning resources. The Hangout is an example of an online community based on the pre-existing offline interests of its founding members and it is thus connected to and overlaps with the offline Old Time and Bluegrass music banjo communities. Although I focus on the Banjo Hangout online community, this study also provides peripheral glimpses – embedded in the participants’ narratives – into the offline Old Time and Bluegrass banjo communities of practice. As a cyber ethnographic field study, this research also highlights the epistemological differences between on- and offline community as reflected in music education online narrative qualitative research and research practice.
This article considers ragtime dancing within the contexts of American minstrelsy, African American migration, and European immigration. Based on archival research and drawing upon contemporary minstrelsy scholarship, I argue that ragtime dancing of the early twentieth century can be understood as a form of participatory minstrelsy that allowed dancers to embody markers of “blackness.” I further suggest that, as they danced “black” to ragtime music, European immigrant youths distanced themselves from African Americans and facilitated their own strategic assimilation as Americans.
MTV: Music Television, the US music channel, has expanded its operations globally, launching derivative services in other regions, including MTV Europe, MTV Asia and MTV Latino. This expansion raises concerns about US cultural influence abroad since MTV's programs mostly play American and British artists or local acts that mimic US music styles. The history, operations and programming of MTV's various international services are surveyed. MTV seeks to foster and exploit an international youth culture. The part cooperative, part contentious relationship between MTV and transnational record companies is explored. Finally, alternatives to MTV like Canada's Much Music are considered.
For Gloria Ladson-Billings, culturally relevant pedagogy is characterized by three criteria: academic success, cultural competence and critical consciousness. Those engaged in culturally relevant pedagogy are connected by how they see themselves as teachers and how they see their students, how they view knowledge and how they structure social relations in their classroom. These threads are all evident in the University of Illinois' Black Chorus practice. This article shows how conductor Dr Ollie Watts Davis' culturally relevant practices with the choir generate and sustain a unique community with strong social bonds that in turn create and reinforce musical excellence, inspiring the singers to do better, live better and sing better while embracing their African American cultural heritage and identity.
The Scott Joplin Memorial Concerts at St. Michael’s Cemetery. The Syncopated Times
- E Berlin
A cradle for ragtime: The saga of Scott Joplin
- W D Hill
Brun Campbell: The original ragtime kid
- L Karp
Links to the past: An architectural history of Sedalia, Missouri [A historical and architectural survey of residential and outlying commercial structures in
- R Maserang
A framework for understanding poverty: A cognitive approach (5th Rev
- R K Payne
Political currents and black culture in Scott Joplin’s Treemonisha
- A Sears
Scott Joplin’s forgotten parlor songs. The Syncopated Times
- R Tarby
Eubie Blake: Ragtime reminiscences. The Washington Post
- H West
Scott Joplin’s Treemoniisha (1911), the “first” black opera: A new ethnoanthropological and musicological analysis
- L Cerchiari
The Midland’s most notorious: Prostitution in
- R Chalfant
Journey through black music: Art, aesthetics, activism [Lecture]. Illinois Summer Music Online
- O W Davis
-2) [CD recorded by Paragon Ragtime Orchestra and Singers
- S Joplin
The Sedalia master plan chapter two: Existing conditions. City of Sedalia
- D Knopick
Music standards (PK-8 general music). National Association for Music Education
- S Shuler
- R Wells
- R Baker
- B Cooper
Methodist adventures in Negro education
- J Stowell
- S Jay
- Stowell