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CMYK NAXOS Playing Scott Time: 64:49 JOPLIN ൿ copying of this compact disc prohibited. • Made in Canada reserved. Unauthorised public performance, broadcasting and All rights in this sound recording, artwork, texts and translations 8.559277 (1868-1917) & Ꭿ 1 Rag-Time Dance: A Stop-Time Two Step 3:05 AMERICAN CLASSICS 2007 Naxos Rights International Ltd. 2 A Breeze From Alabama: Although Scott Joplin’s musical March and Two-Step 4:19 3 The Chrysanthemum: interests were considerably broader SCOTT JOPLIN: An Afro-American Intermezzo 4:42 than what could be expressed in 4 Peacherine Rag 3:47 ragtime – he composed two operas 5 The Cascades: A Rag 3:14 (Treemonisha is considered by many 6 Weeping Willow: A Rag Time Two Step 4:22 to be his masterpiece), a ballet, and 7 Gladiolus Rag 4:26 two orchestral works – he is best 8 Eugenia 4:40 9 The Crush Collision March 4:52 remembered today as the ‘King of the Piano Rags • 2 0 Reflection Rag: Syncopated Musings 4:51 Ragtime Writers’, the master of freely ! Magnetic Rag 5:21 syncopated and extraordinarily Piano Rags • 2 @ Swipesy: Cake Walk 3:22 inventive piano rags. This recording # Scott Joplin’s New Rag 4:03 includes the whirling, scintillating $ Rose Leaf Rag – A Ragtime Two Step 4:04 Stoptime Rag, the nostalgic Gladiolus % The Rosebud March 2:49 ^ Stoptime Rag 2:51 Rag, and Joplin’s last ever work for piano, Reflection Rag. Volume One is Benjamin Loeb, Piano SCOTT JOPLIN: available on Naxos 8.559114. DDD Recorded at the Performing Arts Centre, The Country Day School, King City, Ontario, Canada, from 5th to 8th August, 2005 Booklet notes in English Producers: Bonnie Silver and Norbert Kraft www.naxos.com 8.559277 8.559277 Engineer and editor: Norbert Kraft Booklet notes: David Truslove Cover picture: Collage of Scott Joplin sheet music covers NAXOS American flag, folk artist, 1880s..

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Scott Joplin International Ragtime Festival
Scott Joplin International Ragtime Festival By Julianna Sonnik The History Behind the Ragtime Festival Scott Joplin - pianist, composer, came to Sedalia, studied at George R. Smith College, known as the King of Ragtime -Music with a syncopated beat, dance, satirical, political, & comical lyrics Maple Leaf Club - controversial, shut down by the city in 1899 Maple Leaf Rag (1899) - 76,000 copies sold in the first 6 months of being published -Memorial concerts after his death in 1959, 1960 by Bob Darch Success from the Screen -Ragtime featured in the 1973 movie “The Sting” -Made Joplin’s “The Entertainer” and other music popular -First Scott Joplin International Ragtime Festival in 1974, 1975, then took a break until 1983 -1983 Scott Joplin U.S. postage stamp -TV show possibilities -Sedalia realized they were culturally important, had way to entice their town to companies The Festival Today -38 festivals since 1974 -Up to 3,000 visitors & performers a year, from all over the world -2019: 31 states, 4 countries (Brazil, U.K., Japan, Sweden, & more) -Free & paid concerts, symposiums, Ragtime Footsteps Tour, ragtime cakewalk dance, donor party, vintage costume contest, after-hours jam sessions -Highly trained solo pianists, bands, orchestras, choirs, & more Scott Joplin International Ragtime Festival -Downtown, Liberty Center, State Fairgrounds, Hotel Bothwell ballroom, & several other venues -Scott Joplin International Ragtime Foundation, Ragtime store, website -2020 Theme: Women of Ragtime, May 27-30 -Accessible to people with disabilities -Goals include educating locals about their town’s culture, history, growing the festival, bringing in younger visitors Impact on Sedalia & America -2019 Local Impact: $110,335 -Budget: $101,000 (grants, ticket sales, donations) -Target Market: 50+ (56% 50-64 years) -Advertising: billboards, ads, newsletter, social media -Educational Programs: Ragtime Kids, artist-in-residence program, school visits -Ragtime’s trademark syncopated beat influenced modern America’s music- hip-hop, reggae, & more.
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Scott Joplin: Maple Leaf
Maple Leaf Rag Scott Joplin Born: ? 1867 Died: April 1, 1917 Unlike many Afro-American children in the 1880s who did not get an education, According to the United States Scott attended Lincoln High School census taken in July of 1870, in Sedalia, Missouri, and later went to Scott Joplin was probably born George R. Smith College for several years. in late 1867 or early 1868. No Throughout his life, Joplin believed one is really sure where he was in the importance of education and born either. It was probably in instructed young musicians whenever northeast Texas. he could. Joplin was a self-taught Although he composed several marches, musician whose father was a some waltzes and an opera called laborer and former slave; his Treemonisha, Scott Joplin is best known mother cleaned houses. The for his “rags.” Ragtime is a style of second of six children, Scott music that has a syncopated melody in was always surrounded with which the accents are on the off beats, music. His father played the on top of a steady, march-like violin while his mother sang accompaniment. It originated in the or strummed the banjo. Scott Afro-American community and became often joined in on the violin, a dance craze that was enjoyed by the piano or by singing himself. dancers of all races. Joplin loved this He first taught himself how to music, and produced over 40 piano play the piano by practicing in “rags” during his lifetime. Ragtime the homes where his mother music helped kick off the American jazz worked; then he took lessons age, growing into Dixieland jazz, the from a professional teacher who blues, swing, bebop and eventually rock also taught him how music was ‘n roll.
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Reframing Generated Rhythms and the Metric Matrix As Projections of Higher-Dimensional LaIces 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.
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Maple Leaf Rag
Maple Leaf Rag Scott Joplin Unlike many Afro-American children in Born: ? 1867 the 1880s who did not get an education, Died: April 1, 1917 Scott attended Lincoln High School in Sedalia, Missouri, and later went to According to the United States George R. Smith College for several census taken in July of 1870, years. Throughout his life, Joplin Scott Joplin was probably born believed in the importance of education in later 1867 or early 1868. No and instructed young musicians one is really sure where he was whenever he could. born either. It was probably in northeast Texas, although Texas Although he composed several marches, wasn’t yet a state at that time. some waltzes and an opera called Treemonisha, Scott Joplin is best known Joplin was a self-taught for his “rags.” Ragtime is a style of musician whose father was a music that has a syncopated melody in laborer and former slave; his which the accents are on the off beats, mother cleaned houses. The on top of a steady, march-like accompa- second of six children, Scott niment. It originated in the Afro- was always surrounded with American community, and became a music. His father played the dance craze that was enjoyed by dancers violin while his mother sang or of all races. Joplin loved this music, and strummed the banjo. Scott often produced over 40 piano “rags” during joined in on the violin, the his lifetime. Ragtime music helped kick piano or by singing himself. He off the American jazz age, growing into first taught himself how to play Dixieland jazz, the blues, swing, bebop the piano by practicing in the and eventually rock ‘n roll.
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MAHLERFEST XXXIV the RETURN Decadence & Debauchery | Premieres Mahler’S Fifth Symphony | 1920S: ARTISTIC DIRECTOR
August 24–28, 2021 Boulder, CO Kenneth Woods Artistic Director SAVE THE DATE MAHLERFEST XXXV May 17–22, 2022 * Gustav Mahler Symphony No. 2 in C Minor Boulder Concert Chorale Stacey Rishoi Mezzo-soprano April Fredrick Soprano Richard Wagner Die Walküre (The Valkyrie), Act One Stacey Rishoi Mezzo-soprano Brennen Guillory Tenor Matthew Sharp Bass-baritone * All programming and artists subject to change KENNETH WOODS Mahler’s First | Mahler’s Musical Heirs Symphony | Mahler and Beethoven MAHLERFEST.ORG MAHLERFEST XXXIV THE RETURN Decadence & Debauchery | Premieres Mahler’s Fifth Symphony | 1920s: ARTISTIC DIRECTOR 1 MAHLERFEST XXXIV FESTIVAL WEEK TUESDAY, AUGUST 24, 7 PM | Chamber Concert | Dairy Arts Center, 2590 Walnut Street Page 6 WEDNESDAY, AUGUST 25, 4 PM | Jason Starr Films | Boedecker Theater, Dairy Arts Center Page 9 THURSDAY, AUGUST 26, 4 PM | Chamber Concert | The Academy, 970 Aurora Avenue Page 10 FRIDAY, AUGUST 27, 8 PM | Chamber Orchestra Concert | Boulder Bandshell, 1212 Canyon Boulevard Page 13 SATURDAY, AUGUST 28, 9:30 AM–3:30 PM | Symposium | License No. 1 (under the Hotel Boulderado) Page 16 SATURDAY, AUGUST 28, 7 PM | Orchestral Concert Festival Finale | Macky Auditorium, CU Boulder Page 17 Pre-concert Lecture by Kenneth Woods at 6 PM ALL WEEK | Open Rehearsals, Dinners, and Other Events See full schedule online PRESIDENT’S GREETING elcome to MahlerFest XXXIV – What a year it’s been! We are back and looking to the future with great excitement and hope. I would like to thank our dedicated and gifted MahlerFest orchestra and festival musicians, our generous supporters, and our wonderful audience. I also want to acknowledge the immense contributions of Executive Director Ethan Hecht and Maestro Kenneth Woods that not only make this festival Wpossible but also facilitate its evolution.
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1. Charles Ives's Four Ragtime Dances and “True American Music”
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Scott Joplin American Ragtime Pianist and Composer (1867 Or 1868 - 1917)
Scott Joplin American Ragtime Pianist and Composer (1867 or 1868 - 1917) Scott Joplin was born in Texarkana, Texas around 1868, and was one of six kids. Texas is the home of long horn steer, BBQ, and everything big! Both of Scott Joplin's parents were musicians. His father played the violin at parties in North Carolina and his mother sang and played the banjo. His parents gave Scott a basic musical education, and at seven years old he began teaching himself to play the piano while his mother cleaned houses. As a boy Joplin loved to play the piano and practiced every day after school. Several local teachers helped him, but most of his musical education was guided by Julius Weiss, a German music professor who had immigrated to Texas in the late 1860’s. It wasn't too long before Joplin was performing as a pianist and singing in a quartet with three boys that lived in his hometown of Texarkana. In the late 1880's Joplin left home to become a traveling musician. He found steady work in churches and saloons. In 1893, Joplin was invited to perform at the Chicago World's Fair. The fair was attended by twenty-seven million visitors. Joplin's ragtime music was popular with the visitors and by 1897 ragtime had become a national craze. In 1895 Joplin was given his first opportunity to publish his own compositions. Four years later he published, "Maple Leaf Rag." The song quickly grew in popularity and people began referring to Joplin as the "King of Ragtime." Joplin moved to St.
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Ragtime Ensemble
Digitized from Box 2 of the White House Press Releases at the Gerald R. Ford Presidential Library NEW ENGLAND CONSERVATORY RAGTIME ENSEMBLE Quotes of Gunther Schuller and members of Ragtime Ensemble Program for White House History of Ragtime Ensemble Fact Sheet of New England Conservatory Notes of European Tour (August-September, 1974) Reviews of New England Conservatory Ragtime Ensemble from Tour of Summer, 1974 \..... Contact: Public Relations Quotes of Gunther Schuller and 9/23/74 members of New England Conservatory 617/262-1120 Ragtime Ensemble on White House performance The invitation of the New England Conservatory Ragtime Ensemble to perform at the White house comes at a most exciting time for the New England Conservatory. Beginning the last two years of its five-year, $12 million endowment fund raising campaign and having just completed an enormously successful tour of Europe with its Symphony Orchestra and Chorus, the New England Conservatory is entering a new phase of activity and import in education. "I am deeply honored to have been appointed by President Ford to the National Council on the Arts," said Conservatory President Gunther Schuller upon hearing the ne\'ls. "With the renewed public int:erest in the A:rts, especially in Music, it is important for there to be a greater awareness of our American musical heritage. The New England Conservatory has long been involved in contributing to and enhancing this awareness, and we are pleased to see it gaining a greater momentum throughout the United States. "The Ragtime music of Scott Joplin is an integrill part of the development of that peculiarly American music called Jazz.
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San Antonio Ragtime Society Meeting April 9, 2016 List of Performers And
San Antonio Ragtime Society Meeting April 9, 2016 List of performers and music played Performer Title Composer Year Order Jimmy Drury Weeping Willow Scott Joplin 1903 1 Jimmy Drury Leola Scott Joplin 1905 2 Jack Love Bluffton Street Carnival Rag Verdi Karns 1899 3 Bill Thompson Ole Miss Rag W.C. Handy 1914 4 Luis Martinez Solace Scott Joplin 1909 5 Monty Suffern Creeks of Missouri Galen Wilkes 1983 6 Monty Suffern Bei Mir Bist Du Schoen Sholom Secunda 1932 7 Jack Love Lasses Lucy Thomas 1905 8 Bill Thompson Euphonic Sounds Scott Joplin 1909 9 Monty Suffern Half & Half Larisa Migachyov 2011 10 Monty Suffern Mississippi Rag W.H. Krell 1897 11 Jack Love Ashokan Farewell Jay Ungar 1982 12 (break) 12.1 John Lile Dizzy Fingers Zez Confrey 1923 13 Monty Suffern King Chanticleer Nat Ayer 1910 14 Jack Love White Seal Rag Kittie Hamel 1907 15 Monty Suffern Chicken Fried Steak Rag Larisa Migachyov 2007 16 Jack Love Weeping Willow (Note 1) Scott Joplin 1903 17 Monty Suffern Sobbing Sycamore (Note 1) Monty Suffern 2010 18 Luis Martinez The Entertainer Scott Joplin 1902 19 Bill Thompson Funny Folks W.C. Powell 1904 20 Jimmy Drury Palm Leaf Rag Scott Joplin 1903 21 Jimmy Drury Elite Syncopations Scott Joplin 1902 22 Monty Suffern Texas Fox Trot David W. Guion 1917 23 Monty Suffern Rose Leaf Rag Scott Joplin 1907 24 Jack Love El Choclo (Tango) (Note 2) Angel Villoldo 1903 25 Notes: 1. Sobbing Sycamore is a "companion rag" to Weeping Willow, and they were played concurrently. 2.
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The Music of 1896 a Concert for the Community
The Music of 1896 A Concert for the Community Featuring members of the Bangor Symphony Orchestra Angel Hernandez, violin Simon Bilyk, violin Laura Gallucci, viola Noreen Silver, cello with Lucas Richman, piano Recorded November 1, 2020 at the Bangor Arts Exchange Scott Joplin Combination March (1896) arr. Lucas Richman, for piano & string quartet George Whitefield Chadwick String Quartet No. 4 in E minor (1896) III. Giocoso, un poco moderato Amy Beach Romance for Violin and Piano Op. 23 (1893) Angel Hernandez, violin & Lucas Richman, piano Antonin Dvořák String Quartet No. 12 in F Major, “American” (1893) I. Allegro ma non troppo II. Lento III. Molto vivace IV. Finale. Vivace ma non troppo Underwriting Provided By Special Thanks To Bangor Symphony Orchestra - 1 About the Musicians Angel Hernandez Dominguez is assistant concertmaster of the Bangor Symphony Orchestra. A native of Cuba, he has appeared as soloist with Mexico’s Aguascalientes Symphony Orchestra, the Queretaro Philharmonic, and the OFUNAM Philharmonic Orchestra in Mexico City. Since relocating to the United States in 2006, Angel has maintained an active performance schedule as a member of the Nashaway Piano Trio, Orchestra of Indian Hill, and the Bangor Symphony, where he serves as Assistant Concertmaster. He is currently on the faculty at Indian Hill Music, Cushing Academy and Shrewsbury Public Schools. Mr. Hernandez is also active as a violin-maker: more than 30 of his fine handmade instruments are played by professional musicians across the U.S., Mexico, and Europe. Simon Bilyk, principal 2nd violinist of the Bangor Symphony Orchestra, maintains a varied freelance career in New York City and across New England.
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Historic Jazz Piano Styles in Live Performance, 1900-1940
Historic Jazz Piano Styles in Live Performance, 1900-1940 An Honors Recital (HONRS 499) by Mattnew A. Wilson Frank J. Puzzullo Ball State University Muncie, Indiana April 15, 1992 Graduation Date: May 2, 1992 -------- ---._--- ---"- \ "V,''''' • ",ISS This ~ecital is dedicated to the purpose 0: outlining the evolution of Jazz piano styles prior to about 1940. The empnasis is on tne niano as a solo instrument, a unique nositinn occu~ied by the piano since it can play both melody and accompaniment to its melody. T11e;)rogram notes are designed not to give a detailed analysis of each selection, but instead to nelp gUide the membe~s of tne audience in understanding the nistorical context, tne general stylistic traits of the pieces, a~l perhaps tne significance of particular key persons in the devel o~ment of Jazz piano styles. Tne selections themselves orogress chronologically, and they are carefully chosen to provide an in:eresting and varied program. The most important factor, noweve~, in considering whicn pieces to include is tne aCcurate representat1:m of tne various styles. The pieces C.hosen are tnose tnat seem to embody tne stylistic traits in the most easily perceived manner, because tne pur:l)()se ·of the recital is to demonstrate tnese early Jazz .Jiano styles to t11e aUdience. AI]. of tne nieces ryerformed are based on transcriptions of actual recordings. Sunflower Slow Drag -1901 • • • • • • • Scott Joplin (1868-1917) - Scott Hayden (1882-1915) With the emergence of ragtime comes the first genuinely American music. This new and unique music combines elements of brass band styles, European forms, and folk traditions.
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EXAM 4 (Units 15-17)
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