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559114 rr Joplin EU 14/05/2004 12:26pm Page 1 CMYK N Playing Scott AXOS Time: 65:29 JOPLIN h copying of this compact disc prohibited. • Made in the EU. reserved. Unauthorised public performance, broadcasting and All rights in this sound recording, artwork, texts and translations 8.559114 (1868-1917) & g AMERICAN CLASSICS 2004 Naxos Rights International Ltd. 1 Maple Leaf Rag 3:11 2 Heliotrope Bouquet: ‘A Slow Drag Two-Step’ 4:30 Although Scott Joplin’s musical 3 Pine Apple Rag 3:42 interests were considerably broader 4 Solace: “A Mexican Serenade” 6:55 than what could be expressed in SCOTT JOPLIN: Piano Rags ragtime - he composed two operas 5 Paragon Rag 3:59 (Treemonisha is considered by many 6 Pleasant Moments: “Ragtime Waltz” 4:05 to be his masterpiece), a ballet, and 7 Elite Syncopations 3:59 two orchestral works - it as the ‘King 8 Original Rag 4:32 of the Ragtime Writers’, the master of 9 Fig Leaf: ‘A High-class Rag’ 4:34 freely syncopated and extraordinarily 0 The Entertainer: ‘A Ragtime Two-Step’ 4:42 inventive piano rags, that he is best ! The Easy Winners 4:12 remembered today. The present disc @ Country Club Rag 3:59 features many favourites, including # The Strenuous Life 5:16 Joplin’s most famous composition, $ Bethena: ‘A Concert Waltz’ 7:53 the scintillating Maple Leaf Rag, The Entertainer, which became all the rage in the 1970s thanks to its use in Alexander Peskanov, Piano the motion picture The Sting, and the quirky Elite Syncopations. SCOTT JOPLIN: Piano Rags DDD Recorded at the Performing Arts Centre, The Country Day School, King, Ontario, Canada, from 22nd to 24th July, 2002 Booklet notes in English Producers: Bonnie Silver and Norbert Kraft Kommentar auf Deutsch 8.559114 Engineer and Editor: Norbert Kraft Piano technician: Ted Campbell www.naxos.com 8.559114 Booklet notes: Daniel Felsenfeld Cover picture: Collage of Scott Joplin sheet music covers AXOS American flag, folk artist, 1880s. N.

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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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Record Series 1121-113, W. W. Law Sheet Music and Songbook
Record Series 1121-113, W. W. Law Sheet Music and Songbook Collection by Title Title Added Description Contributor(s) Date(s) Item # Box Publisher Additional Notes A Heritage of Spirituals Go Tell it on the Mountain for chorus of mixed John W. Work 1952 voices, three part 1121-113-001_0110 1121-113-001 Galaxy Music Corporation A Heritage of Spirituals Go Tell it on the Mountain for chorus of women's John W. Work 1949 voices, three part 1121-113-001_0109 1121-113-001 Galaxy Music Corporation A Heritage of Spirituals I Want Jesus to Walk with Me Edward Boatner 1949 1121-113-001_0028 1121-113-001 Galaxy Music Corporation A Heritage of Spirituals Lord, I'm out Here on Your Word for John W. Work 1952 unaccompanied mixed chorus 1121-113-001_0111 1121-113-001 Galaxy Music Corporation A Lincoln Letter Ulysses Kay 1958 1121-113-001_0185 1121-113-001 C. F. Peters Corporation A New Song, Three Psalms for Chorus Like as a Father Ulysses Kay 1961 1121-113-001_0188 1121-113-001 C. F. Peters Corporation A New Song, Three Psalms for Chorus O Praise the Lord Ulysses Kay 1961 1121-113-001_0187 1121-113-001 C. F. Peters Corporation A New Song, Three Psalms for Chorus Sing Unto the Lord Ulysses Kay 1961 1121-113-001_0186 1121-113-001 C. F. Peters Corporation Friday, November 13, 2020 Page 1 of 31 Title Added Description Contributor(s) Date(s) Item # Box Publisher Additional Notes A Wreath for Waits II. Lully, Lully Ulysses Kay 1956 1121-113-001_0189 1121-113-001 Associated Music Publishers Aeolian Choral Series King Jesus is A-Listening, negro folk song William L.
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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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Updated - 2016/3/1
updated - 2016/3/1 Original Data Status of Arr. Title Composer Original Arranged Revised PDF Level Alaskan Rag (The) Joseph Lamb 1959 2005 2011 *Ask B American Beauty Rag; full Joseph Lamb 1913 2013 *Ask B American Beauty Rag; excerpt Joseph Lamb 1913 1999 *Ask A Black And White Rag George Botsford 1908&1924 2010 *Ask C Cascades (The) Scott Joplin 1904 2000 OK D Chrysanthemum (The) Scott Joplin 1904 2000 OK B Contentment Rag Joseph Lamb 1915 2002 *Ask B Easy Winners (the) Scott Joplin 1901 2000 OK C Elite Syncopations Scott Joplin 1902 2000 OK A Entertainer (the) ; popular Scott Joplin 1902 1999 2010 OK B Entertainer (the) ; advanced Scott Joplin 1902 2002 2010 OK B Entertainer (the) for beginners Scott Joplin 1902 2000 Web *1 A Entertainer (the) ; chordal Scott Joplin 1902 1999 2010 OK A Entertainer (the) for duo Scott Joplin 1902 1999 OK B Ethiopia Rag Joseph Lamb 1909 1999 2010 *Ask C Euphonic Sounds Scott Joplin 1909 2000 OK B Gladiolus Rag Scott Joplin 1907 2000 OK C Graceful Ghost William Bolcom 1971 1999 2010 *Ask D Heliotrope Bouquet Scott Joplin + Louis Chauvin 1907 1999 OK B Kinklets Arthur Marshall 1906 2012 OK A Magnetic Rag Scott Joplin 1914 2001 OK C Maple Leaf Rag Scott Joplin 1899 1999 2009 OK C Maple Leaf Rag – Performance Scott Joplin 1899 1999 2011 OK C Mimi Bob Milne 1979 2002 *Ask B Nonpareil Scott Joplin 1907 2001 OK B Operatic Rag Julius Lenzberg 1914 2013 *Ask B Odeon Ernest Nazareth 1910 2014 *Ask C Paragon Rag Scott Joplin 1909 2001 OK B Peacherine Rag Scott Joplin 1901 2000 OK B Peck Peck Song (The) Jerry Zucker 2010 2011 OK A Pineapple Rag Scott Joplin 1908 2004 2010 OK B Ragtime Dance Scott Joplin 1906 1999 OK B Ragtime Nightingale Joseph Lamb 1915 2001 *Ask D Reflection Rag Scott Joplin 1917 1999 OK B Roberto Clemente David Thomas Roberts 1979 2011 *Ask B St.
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Concerto 'Still Life'
Thursday matinee 28 September 2017 CONCERTO Music Dmitri Shostakovich; Choreography Kenneth MacMillan; Designs Jürgen Rose; Lighting John B. Read First movement Miki Mizutani, Lachlan Monaghan Second movement Yvette Knight, Yasuo Atsuji Third movement Yijing Zhang Three couples Karla Doorbar, Reina Fuchigami, Yaoqian Shang, Feargus Campbell, Tim Dutson, Edivaldo Souza da Silva with Artists of Birmingham Royal Ballet Solo piano Jonathan Higgins I N TERVA L ‘STILL LIFE’ AT THE PENGUIN CAFÉ Music Simon Jeffes; Choreography David Bintley; Designs Hayden Griffin; Lighting John B. Read AIR À DANSER The Great Auk Ruth Brill PRELUDE AND YODEL Utah Longhorn Ram Samara Downs with Iain Mackay LONG DISTANCE Texas Kangaroo Rat Tzu-Chao Chou THE ECSTASY OF DANCING FLEAS Humboldt’s Hog-nosed Skunk Flea Miki Mizutani Gabriel Anderson, Feargus Campbell, Brogan McKelvey, Valentin Olovyannikov, Hamish Scott WHITE MISCHIEF Southern Cape Zebra Edivaldo Souza da Silva Samara Downs, Rosanna Ely, Elisabetta Formento, Jade Heusen, Anna Monleon, Rachele Pizzillo, Alys Shee, Daria Stanciulescu NOW NOTHING Tyrone Singleton, Yijing Zhang, Amber Cook MUSIC BY NUMBERS (by Simon Jeffes and Geoffrey Richardson) Brazilian Woolly Monkey Kit Holder with Karla Doorbar, Reina Fuchigami Contralto Rebecca Duggan Royal Ballet Sinfonia Conductor Philip Ellis; Leader Robert Gibbs I N TERVA L ELITE SYNCOPATIONS Music Scott Joplin and others; Choreography Kenneth MacMillan; Design Ian Spurling; Lighting John B. Read 1. Sunflower Slow Drag The Company 2. Elite Syncopations The Company 3. The Cascades Reina Fuchigami, Alys Shee, Daria Stanciulescu 4. Hothouse Rag Feargus Campell, Chi Cao, Aitor Galende, Kit Holder 5. Calliope Rag Alys Shee 6. Ragtime Nightingales The Company 7.
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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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Scott Joplin's Treemonisha”--Gunter Schuller, Arr
“Scott Joplin's Treemonisha”--Gunter Schuller, arr. (1976) Added to the National Registry: 2016 Essay by Scotty Gray (guest post)* Original 1976 album cover The richness of American culture has been fascinatingly preserved by the National Recording Registry at the Library of Congress by including in its 2016 listing the Deutsche Grammophon recording of the Houston Grand Opera’s 1975 performance of the African American rag time composer Scott Joplin’s opera “Treemonisha.” The opera, completed in 1910, is itself a commentary on a period of civil unrest in American history and an examination of a distinctive aspect of American culture. Joplin addressed the challenging conflicts in African American culture of the time through the story of Treemonisha, who, in the story, has been adopted by Ned and Monisha, former slaves. The old superstitions of the earlier culture are presented in the play by the “conjure men” who kidnap Treemonisha, but she is finally rescued, returned to her family, and becomes an example of a newer culture emphasizing the importance of education for women as well as men. Joplin had studied with a music teacher from Germany who exposed him to some of the literature and techniques of more classical styles and in “Treemonisha,” he clothed aspects of European opera in the distinctive garbs of ragtime. There are melodious arias, ensembles, choruses, and ballet sequences. He completed the text and music of “Treemonisha” in 1910 and it was published in a piano-vocal score in 1911. The Houston Grand Opera’s full-scale production, directed by Frank Corsaro and produced by Thomas Mowrey, was a new version orchestrated and conducted by Gunther Schuller, a classical and jazz scholar and 1994 Pulitzer Prize recipient for a distinguished musical composition by an American.
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Treemonisha: Scott Joplin's Skeptical Black Opera
Treemonisha: Scott Joplin’s Skeptical Black Opera More than a century ago, this now-famous American composer wrote an opera promoting education and the value of a skeptical perspective on superstition and supernatural claims. BRUCE A. THYER An’ it won’t be long he American composer Scott Joplin (1867–1917) is ’Fore I’ll make you from me run. deservedly famous for his many musical accomplish- I has dese bags o’ luck, ’tis true, So take care, gal, I’ll send bad luck to ments, which culminated in a posthumous Pulitzer you. Prize in 1976. An African American, Joplin is perhaps best Remus, a friend of Treemonisha’s T remonstrates: known for his many ragtime compositions such as the “Ma- pleleaf Rag,” the theme song to the popular movie The Sting. Shut up old man, enough you’ve said; You can’t fool Treemonisha—she has a Less well known are Joplin’s operas. The first, called A Guest level head. She is the only educated person of our of Honor, appeared in 1903, and his second, Treemonisha, race, was begun in 1907 and completed in 1910. For many long miles away from this place. The score of Treemonisha received less. He exits the scene and the eigh- She’ll break the spell of superstition in a positive review in the American Mu- teen-year-old Treemonisha enters and the neighborhood. sician and Art Journal in 1910 but the admonishes the conjuror: Zodzetrick leaves, and the scene only partial performance Joplin heard You have lived without working for changes to a later harvest dance.
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MUNI 20061005 Piano 01 – Scott Joplin, King of Ragtime 18961015
MUNI20061005 Piano01–ScottJoplin,KingofRagtime 18961015 TheCrushCollisionMarch 1013/B2 18961116 CombinationMarch 1013/B4 18990315 OriginalRags (Joplin-Daniels) 1010/B3 18990918 MapleLeaf Rag April & June, 1916 JOPLIN 1010/B5 19000000 Swipesy (Joplin-Marshall) 1008/B3 19010000 Peacherine Rag 1008/B4 19010318 SunflowerSlowDrag (Joplin-Hayden) 1010/B4 19011010 TheEasyWinners 1013/A2 19020000 TheStrenuousLife 1008/A3 19020229 EliteSyncopations 1014/A1 19020519 Cleopha 1014/A5 19021229 TheEntertainer 1013/A1 19021229 ABreezefromAlabama 1013/B5 19030000 SomethingDoing (Joplin-Hayden) May, 1916 JOPLIN 1008/B5 19030000 WeepingWillowRag May, 1916 JOPLIN 1006/A3 19031114 PalmLeaf Rag 1010/A4 19040000 Cascades 1008/A1 19040000 TheFavorite 1008/A2 19040000 TheSycamore 1008/B6 19040822 TheChrysanthemum 1014/B4 19050000 Leola–TwoStep 1014/B2 19050306 Bethena–AConcertWaltz 1013/B3 19060226 Eugenia 1014/A4 19061221 TheRagtimeDance 1013/A6 19070000 Nonpareil–NonetoEqual 1008/A5 19070000 SearchLight 1008/B1 19070000 RoseLeafRag 1008/B2 19070924 Gladiolus–March–Rag 1013/A5 19071108 LilyQueen (Joplin-Marshall) 1014/B3 19071223 Heliotrope Bouquet (Joplin-Chauvin) 1014/B5 19080000 FigLeafRag 1008/A7 19080421 SugarCane 1013/B1 19081012 PineApple Rag 1013/A3 19090223 WallStreet Rag 1010/A6 19090428 Solace 1013/A4 19090511 PleasantMoments 1010/B2 19091030 CountryClub 1014/A2 19091030 EuphonicSounds 1010/A2 19091030 ParagonRag 1014/A3 19100000 StoptimeRag 1008/B7 19110000 FelicityRag 1008/A6 19120501 ScottJoplin’s NewRag 1014/B1 19130221 KismetRag (Joplin-Hayden)
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Elite Syncopations
THE ROYAL BALLET Director KEVIN O’HARE CBE Founder DAME NINETTE DE VALOIS OM CH DBE Founder Choreographer SIR FREDERICK ASHTON OM CH CBE Founder Music Director CONSTANT LAMBERT Prima Ballerina Assoluta DAME MARGOT FONTEYN DBE THE ROYAL BALLET: LIVE ELITE SYNCOPATIONS Conductor JONATHAN LO ELITE SYNCOPATIONS Piano Conductor ROBERT CLARK ORCHESTRA OF THE ROYAL OPERA HOUSE Concert Master SERGEY LEVITIN WEDNESDAY 4 NOVEMBER 2020 The 2020/21 Ballet Season is generously supported by AUD JEBSEN RUNNING TIMES This performance will last approximately 2 hours 15 minutes including one 20 minute interval SAFETY INFORMATION Please note that all ROH performances and participating artists are subject to change due to COVID-19 restrictions. In order to ensure the safety of the artists and prevent the spread of the Coronavirus, mitigations have included strict social distancing in the studio alongside testing for those artists in physical contact during rehearsals. Please do not use mobile devices during the performance. RHAPSODY PAS DE DEUX Choreography FREDERICK ASHTON Music SERGEY RACHMANINOFF Costumes WILLIAM CHAPPELL recreated by NATALIA STEWART Dancers AKANE TAKADA and ALEXANDER CAMPBELL Solo piano ROBERT CLARK MONOTONES II THE 102ND PERFORMANCE BY THE ROYAL BALLET AT THE ROYAL OPERA HOUSE Choreography FREDERICK ASHTON Music ERIK SATIE orchestrated by CLAUDE DEBUSSY, ROLAND-MANUEL and JOHN LANCHBERY Costume designer FREDERICK ASHTON Dancers GINA STORM-JENSEN, DAVID DONNELLY and TÉO DUBREUIL IN OUR WISHES THE 2ND PERFORMANCE BY THE ROYAL BALLET AT
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EMR 30086 Heliotrope Bouquet Contrabass & Piano
Heliotrope Bouquet Contrabass & Piano Arr.: Jirka Kadlec Scott Joplin EMR 30086 Print & Listen Drucken & Anhören Imprimer & Ecouter ≤ www.reift.ch Route du Golf 150 CH-3963 Crans-Montana (Switzerland) Tel. +41 (0) 27 483 12 00 Fax +41 (0) 27 483 42 43 E-Mail : [email protected] www.reift.ch | Photocopying Heliotrope Bouquet Scott Joplin is illegal! Arr.: Jirka Kadlec q = 100 A Contrabass mf B¨º A‹ D7 G B¨º7 Piano mf mp 7 mf f A‹ D7 G B¨º7 A‹ D7 D©º7 E‹ B‹ G‹/B¨ D/A Bº A7 D Gº mp f mp 13 mf A‹ D7 G B¨º7 A‹ D7 G C/G C‹/G cresc. 19 B f f mf G/D E‹6 D7 G G©º7 D7 3 G f mf 3 EMR 30086 © COPYRIGHT BY EDITIONS MARC REIFT CH-3963 CRANS-MONTANA (SWITZERLAND) ALL RIGHTS RESERVED - INTERNATIONAL COPYRIGHT SECURED www.reift.ch 2 VIOLONCELLOS & PIANO (ORGAN / KEYBOARD) 3 Violoncellos (Fortsetzung - Continued - Suite) EMR 8422 ALBINONI, Tomaso Adagio (Naulais) (5) EMR 19149 NAULAIS, Jérôme (Arr.) Morning Has Broken EMR 8428 ARMITAGE, Dennis 4 Fanfares (Naulais) (5) EMR 19154 NAULAIS, Jérôme (Arr.) Scarborough Fair EMR 8428 BACH / GOUNOD Ave Maria (Naulais) (5) EMR 19155 NAULAIS, Jérôme (Arr.) Scotland The Brave EMR 8421 BACH, Johann S. Aria (Naulais) (5) EMR 19156 NAULAIS, Jérôme (Arr.) St. Louis Blues EMR 8430 BACH, Johann S. Arioso (Naulais) (5) EMR 19160 NAULAIS, Jérôme (Arr.) Wade In The Water EMR 8422 BEETHOVEN, L.v. Die Ehre Gottes... (Naulais) (5) EMR 19144 STRAUSS, Johann Emperor Waltz EMR 8425 BEETHOVEN, L.v.
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MTO 27.2 Examples: Hahn, Reframing Generated Rhythms and the Metric Matrix As Projections of Higher-Dimensional Lattices in Scott Joplin’S Music
MTO 27.2 Examples: Hahn, Reframing Generated Rhythms and the Metric Matrix as Projections of Higher-Dimensional Lattices in Scott Joplin’s Music (Note: audio, video, and other interactive examples are only available online) https://mtosmt.org/issues/mto.21.27.2/mto.21.27.2.hahn.html Example 1. Drawing from Abbott’s Flatland Example 2. 3-generated and 5-generated beat streams shown together Example 3. The same two beat steams represented by dots along two sloped lines such that the ratio of their slopes is −3:5 Example 4. Copying the sloped lines at the beginning of each bar generates a lattice Example 5. Select five horizontal rows of dots to yield the generated rhythm with n = 8, k = 5 and g = 3 Example 7. Jess’s The Bert Williams/George Walker Paradox in torus form Example 8. Cylinder enhancement to the lattice-projection model Example 9. Torus enhancement to the lattice-projection model shown with n = 8 and k = 5 Example 10. Joplin’s Magnetic Rag, mm. 59–62 Example 11. Joplin’s Magnetic Rag, mm. 1–2 Example 12. Intersection pattern between the 3- and 5-generated cycles and the left hand Example 13. Joplin’s Magnetic Rag, mm. 59–62, with the left hand’s generated sets represented Example 14. Bethena, mm. 9–12 Example 15. The metric matrix in torus form Example 16. Second strain from Joplin’s Magnetic Rag Example 17. Measures 18–21 from Joplin’s Maple Leaf Rag Example 18. Measures 30–33 from Joplin’s Original Rags Example 19.
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