Reframing Generated Rhythms and the Metric Matrix As Projections of Higher-Dimensional La Ices in Sco Joplin’S Music *
Reframing Generated Rhythms and the Metric Matrix as Projections of Higher-Dimensional Laices in Sco Joplin’s Music * Joshua W. Hahn NOTE: The examples for the (text-only) PDF version of this item are available online at: hps://www.mtosmt.org/issues/mto.21.27.2/mto.21.27.2.hahn.php KEYWORDS: meter, rhythm, beat class theory, syncopation, ragtime, poetry, hyperspace, Joplin, Du Bois ABSTRACT: Generated rhythms and the metric matrix can both be modelled by time-domain equivalents to projections of higher-dimensional laices. Sco Joplin’s music is a case study for how these structures can illuminate both musical and philosophical aims. Musically, laice 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. Received August 2019 Volume 27, Number 2, June 2021 Copyright © 2021 Society for Music Theory Introduction [1] “Dr. Du Bois, I’ve read and reread your Souls of Black Folk,” writes Julius Monroe Troer, the protagonist of Tyehimba Jess’s 2017 Pulier Prize-winning work of poetry, Olio. “And with this small bundle of voices I hope to repay the debt and become, in some small sense, a fellow traveler along your course” (Jess 2016, 11). Jess’s Julius Monroe Troer is a fictional character inspired by James Monroe Troer (1842–1892), a Black historian who catalogued Black musical accomplishments.(1) In Jess’s narrative, Troer writes to W. E. B. Du Bois to persuade him to help publish composer Sco Joplin’s life story.