Ragtime’S Musical Elements In Scott Joplin’S Music

0 / 5. 0

Ragtime’s musical elements in Scott Joplin’s music

Introduction

With its origin located in the 19th century, the Ragtime musical genre is considered widely as the precursor of what jazz music would become today. This genre is easily recognized for its cheerful and courageous style. Although today when the term "ragtime" is mentioned, it usually refers to music exclusively for piano, in the golden years of this genre, the voice and other musical instruments mainly included, as well as their own dance style, as well as their own dance style, as well as their own dance style. Defined by the Oxford Dictionary in Spanish (S.F.), Ragtime is the “danced black music style born at the end of the 19th and very popular century at the beginning of the 20th, of syncopated binary rhythm, and composed mainly for pian."

To analyze the musical and artistic elements of this particular genre, two pieces considered fundamental of the genre will be analyzed and compared, created by the author Scott Joplin, "[…] who composed works of considerable charm and naivety […]" (Music inMexico, 2015). The research question derives from the theme “The musical elements of the Ragtime”, which is “What are the rhythmic and harmonic aspects of the Maple Leaf Rag (1899) and The Entertain (1902) pieces of Scott Joplin for the development of the genreRagtime?". 

The focus of this monograph will focus on the technical and musical technical analysis of the rhythmic and harmonic aspects of the previously mentioned pieces. It will also be discussed about the possible contextual elements that could influence the creation of these pieces, as well as the importance of them at the time that were published.

The justification for investigating this issue is mere personal interest, since for a portion of my life I had heard these rhythms in recordings without knowing what gender they particularly belonged. It was until in private piano classes I was presented with Ragtime as such. Although at first it was complex for my ability to learn to play a style with the torn time, soon it became one of my favorite genres to interpret.

It is considered pertinent to carry out a study of the elements that characterize the previously mentioned genre, to analyze how particular feeling and energy can be transmitted through the proper use of musical theory, and how this can help in the expression of specific feelings in a formof music.

The analysis of both musical pieces will be divided into two sections. First, The Entertainer piece will be analyzed, later Maple Leaf RAGconsidered of the genre. These foundations will also be enriched with the socio-historical context and what factors influenced the creation of such harmonies and rhythms, including comments from experts about the interpretation of these pieces, such as speed, accents, among others.

The scope of this monograph is limited to the availability of scores and lack of recordings interpreted by the author himself, due to the archaic technology of the nineteenth century, in which he barely began to industrialize music production. The primary sources are the scores of Maple Leaf Rag and The Entertainer. Secondary sources are Internet articles written by professionals.

The Entertainer

Structure

The structure of this piece constitutes an introduction to enter the work, and then a pattern is presented in the sections below: AA BB A CC DD DD. Each section fulfills the function of repeating itself once, with the exception of section A, so that in the second repetition a variation of the section that connects with the following. So until you reach the last section D to finish the RAG.

Figure of my authorship. Demonstration of the different sections in The Entertainer (Joplin, 1902).

  • INTRODUCTION: This prepares us to enter the piece. It is a small motif that is repeated twice, increasingly touched an eighth below the previous. An anacrusa marks another chromatism of re a re# for the anticipation of the next compass.
  • Section A: This section indicates the main theme of the piece. Carries a simple pattern. The first motif, which covers the 5-16 compases is repeated three times, followed by a second motif from the 17-20 measures, which works as in the Blues music would do it a turning, to return to the first reason. This set of reasons are those that elaborate the main theme.

 

It can be seen that the structure of this piece is AA BB a cc dd. Each section ends after a repetition, in which, the second time it is played again, concludes with a second box. This to vary what was proposed in each section during the first round, and apart as "transition" for the next section. This happens in most of the piece, with the exception of one more repetition of section A, after B, which has the function of accentuating the main song of the song.Figure of my authorship. Demonstration of the different sections of Maple Leaf Rag (Joplin 1899).

  • Section A: Party. It is the most recognizable when listening to the song. Its purpose is to establish a main mood for the listener. Maple Leaf Rag in this section has a quick melody, touched twice the left hand, touching one hand in semicorcheas and the other in Prachcheas.
  • Section B: Continuing with fast melodies in semi -marsh, the bass begins to progress with a syncopated rhythm. This section also has similar with the typical bass of a military march.
  • Section C: As well as in section B, a low syncopated is continued, however, it also begins to walk more, as well as the typical jazz genre. The melody progresses in more complex variations than the previous section, since it does not remain within the range of an eighth that arpegy. This section is the most complex in the piece.
  • SECTION D: Similar to section A, the low syncopated ceases to be as marked as other sections and a motif begins to conclude to conclude the piece, solving varied tension chords to give the feeling of returning home. In the second repetition he ends with a great chord in the tonic of the scale of my major best.

 

 Rhythm and harmony

The compass that takes is 2/4. This indicates that the numerator will divide the beat into two parts, and the denominator that will be counted in black notes which 4 fill a full time. Ergo fit 2 black notes per compass in a time of 2/4. This compass subject also indicates on what pulse the accents would be marked. In Western music, each compass is usually accentuated in the first pulse, however, in the syncopated rhythm, the pulses that correspond to 2 and 4 are accentuated. In the Ragtime, as well as in several jazz subgenres this characteristic is used, managing to create a distinctive rhythm. Maple Leaf Rag.

Graphics of my authorship

The left hand is responsible for carrying and marking these accents, and as can be seen in the fragment previously provided, large jumps are made with the piano. Thanks to this, it was considered an innovation for his time, since Joplin invents touching the bass and harmony with the same hand consecutively.

Harmony: (Talk about chords, resolution of 7mas and change between 5ths. My biggest bomb). As long as the harmony of this piece, it is written in the key to my major bomol.

Melody

  • Scales: (Pentatonic, natural)
  • Melody patterns: (arpegios inside a single eighth)

 

“Although it is not the first RAG to be written or published, Maple Leaf Rag became the first instrumental piece to sell more than one million copies.”(Edwards, S.F.). One of Joplin’s early compositions was a resounding success, since he reached this figure in less than a decade. With this, Joplin is recognized as "the King of Ragtime", making it a short time, the musical genre par excellence in the United States.

 

Secondary sources

  • Ragtime. (s.F.). In Spanish Oxford Living Dictionities. Recovered from: https: // is.oxforddiction.com/definition/ragtime
  • What is a ragtime? – Music in Mexico. (2015, June 19). Retrieved June 3, 2019, from https: // Musicaenmexico.com.MX/Musicomania/Que-Is-Un-Ragtime/
  • Edwards, e. B. (s.F.). PERFESSOR BILL EDWARDS-SCOTT JOPLIN COMPOSIONS (1895-1905). Recovered June 1, 2019, from https: // web.Archive.org/web/20090606111507/http: // www.PERFESSORBILL.com/PBMIDI15.SHTML
  • Stefano, g. D. (1984). Storia del Ragtime: Origini, Evoluzione, Technique: 1880-1980. Marsilio, Venezia: prefazione di ezio zefferi.
  • Annexes:
  • JOPLIN, Scott. The Entertainer. 1902. St. Louis, Missouri: John Stark and Son, December 29, 1902, Piano Musical Score.
  • Score with mias annotations
  • JOPLIN, Scott. Maple Leaf Rag, 1899. St. Louis, Missouri: John Stark and Son, September 18, 1899. Piano musical score.

 

Free Ragtime’S Musical Elements In Scott Joplin’S Music Essay Sample

Related samples

Zika virus: Transmission form Introduction The Zika virus belongs to the Flaviviradae family, was found for the first time in a monkey called Rhesus febrile and in...

Zika virus: cases and prevention Introduction The World Health Organization (WHO) has confirmed that Zika is a virus caused through the mosquito bite which is...

Zeus The King of Greek mythology Introduction Zeus is the Olympic God of heaven and thunder, the king of all other gods and men and, consequently, the main figure...

Zeus's punishment to Prometheus Introduction Prometheus, punished by Zeus Prometheus, punished by Zeus. Prometheus is a ‘cousin’ of Zeus. He is the son of the...

Comments

Leave feedback

Your email address will not be published. Required fields are marked *