SCOTT JOPLIN
In the late 1890's ; a craze for a new kind of music called ragtime swept thecountry off it's feet. Instant popularity of ragtime increased before the turn of the century. By 1910, the "ragtime" mania reached its peak in all elements of music: popular dance, Scott Joplin was a young black man that mastered and polish this subtle art.Born in Texarkana, Texas on November 29,
Scott has the tendency to turn melodic lines into delicate and but simple notes. "Magnetic Rag" was the last piece that Scott completed. This can be compared to his other famouspieces of work "Maple Leaf Rag" and "The Entertainer" which all exercise thereappearing theme that shows a tendency to round out by always returning to the homekey. In Scott's piece the "Magnetic Rag". 1868, Scott became facinated with the pianoat an early age and was mentored by a old german teacher that took him in as a pupil. Generallyall of his pieces share the customary ragtime layout and composition of a pair ofcontrasting lines, each repeated and followed by the return to the first line, then a newsection consisting of two or three repeated lines emerge and is usually subdominant. The reappearance of the orginal theme at theclose of the piece, shares a shocking likeness to Beethoven's famous reoccuring "I amDeath Theme". Scott's style of piano playing stress his smooth singing tone and subtle sense of rhythm. It was subtitled :syncopation classiques because of his wonderful blend of syncopation on every up-beatand mad-cow improvisations tailored to sound like European dance music that influencedearly ragtime. In the "Magnetic Rag", the return of the opening theme at the end of thepiece creates a rondo-like structure with a scheme ABCDA, with the outer A section andthe central C section stands in tonal harmony.
Common topics in this essay:
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EXTRA CREDIT,
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Scott Joplin,
magnetic rag,
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