Relevant bibliographies by topics / Ragtime music

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Ragtime music'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Ragtime music"

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Marshall, Wayne. "Ragtime Country." Journal of Popular Music Studies 32, no. 2 (2020): 50–62. http://dx.doi.org/10.1525/jpms.2020.32.2.50.

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In 1955, Elvis Presley and Ray Charles each stormed the pop charts with songs employing the same propulsive rhythm. Both would soon be hailed as rock 'n' roll stars, but today the two songs would likely be described as quintessential examples, respectively, of rockabilly and soul. While seeming by the mid-50s to issue from different cultural universes mapping neatly onto Jim Crow apartheid, their parallel polyrhythms point to a revealing common root: ragtime. Coming to prominence via Maple Leaf Rag (1899) and other ragtime best-sellers, the rhythm in question is exceedingly rare in the Caribbe
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Oliver, Paul, and Edward A. Berlin. "Ragtime in Context." Musical Times 129, no. 1746 (1988): 407. http://dx.doi.org/10.2307/965973.

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Hunkemoller, Jurgen. "Was ist Ragtime?" Archiv für Musikwissenschaft 42, no. 2 (1985): 69. http://dx.doi.org/10.2307/930533.

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Holder, Brian. "Ragtime and Anti-Bolshevism <br>http://dx.doi.org/10.5429/2079-3871(2011)v2i1-2.8en." IASPM Journal 2, no. 1-2 (2012): 65–86. http://dx.doi.org/10.5429/554.

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In 1918 the popular composer George Cobb published his “Russian Rag” – a ragtime rendition of Sergei Rachmaninoff’s Prelude in C# Minor. This work embodied the social and political concerns of the era, specifically global radicalism, immigration from Eastern Europe, and the use of ragtime as musical parody. Through an examination of this and other period works it can be shown that ragtime and popular song were used as a medium to conceptualize and transmit these concepts. Furthermore, this literature exhibits the rapid evolution of mainstream discourse on Russian immigrant culture in the years
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DeVeaux, Scott, John Edward Hasse, and Edward A. Berlin. "Ragtime: Its History, Composers, and Music." Ethnomusicology 32, no. 2 (1988): 142. http://dx.doi.org/10.2307/852046.

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Anderson, Gillian B. "Indiana Ragtime: A Documentary Album." American Music 3, no. 1 (1985): 113. http://dx.doi.org/10.2307/3052137.

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Cardell, Victor, Robert Winter, Dale Franzen, Nmon Ford-Livene, and Scott Joplin. "Crazy for Ragtime." Notes 54, no. 2 (1997): 533. http://dx.doi.org/10.2307/899557.

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Harer, Ingeborg. "Defining Ragtime Music: Historical and Typological Research." Studia Musicologica Academiae Scientiarum Hungaricae 38, no. 3/4 (1997): 409. http://dx.doi.org/10.2307/902493.

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HLADKOSKOK, Lesia, Iryna MURADKHANIAN, and Halyna SEMEN. "Music in E. L. Doctorow’s novel “Ragtime”." Humanities science current issues 1, no. 48 (2022): 168–73. http://dx.doi.org/10.24919/2308-4863/48-1-25.

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Snyder, Joel, and Carol L. Krumhansl. "Tapping to Ragtime: Cues to Pulse Finding." Music Perception 18, no. 4 (2001): 455–89. http://dx.doi.org/10.1525/mp.2001.18.4.455.

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Two experiments investigated cues to pulse finding using a relatively unconstrained, naturalistic paradigm. Participants tapped what they felt was a comfortable pulse on a keyboard playing a percussive sound. The stimulus materials were based on ragtime excerpts, played metronomically (i.e., without expressive timing or tempo variation). The first experiment, with 8 musically experienced and 8 musically inexperienced subjects, played each excerpt in two versions: a pitch-varied version (the original excerpt) and a monotonic version (with all tones changed to middle C) that was designed to remo
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Dissertations / Theses on the topic "Ragtime music"

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Williams, Matthew Thomas. "The styles of percussionist Bob Becker| Combining and peforming disparate eastern and western musical traditions from Indian tabla and rudimental snare drumming to ragtime." Thesis, California State University, Long Beach, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1523326.

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<p> Percussionist Bob Becker is known as an eclectic composer and performer of classical western and world musical styles performed through a wide range of percussive genres. Originally trained to be a classical marimba player and orchestral percussionist, Becker turned his attention to playing music from classical Indian and Ghanaian traditions, as well as the American ragtime xylophone music of George Hamilton Green early in his career during the 1970s. This paper explores Becker's musical training, eclectic and disparate performance repertoire, and his novel and philosophical approaches to
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Gelbwasser, Kimberly. "“To Be an American”: How Irving Berlin Assimilated Jewishness and Blackness in his Early Songs." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1305834530.

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Maskell, Katherine Murphy. "Who Wrote Those “Livery Stable Blues”?: Authorship Rights in Jazz and Law as Evidenced in Hart et al. v. Graham." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338343959.

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Joyner, David Lee. "Southern ragtime and its transition to published blues." 1986. http://catalog.hathitrust.org/api/volumes/oclc/14928251.html.

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Thesis (Ph. D.)--Memphis State University, 1986.<br>Typescript (photocopy). eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 184-188).
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"William Bolcom's 3 Ghost Rags: An Orchestration for Chamber Ensemble with Commentary on the History and Propagation of Ragtime." Doctoral diss., 2013. http://hdl.handle.net/2286/R.I.17821.

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abstract: The purpose of this project is twofold: to contribute to the literature of chamber ensembles comprising mixed wind, string, and percussion instruments by producing arrangements of three piano rags by William Bolcom; and to highlight Bolcom's pivotal role in the ragtime revival of the 1960's and 1970's. Through his influence as a scholar, composer, and performer, Bolcom (b. 1938), one of the most prominent American composers of his generation, helped garner respect for ragtime as art music and as one of America's great popular music genres. Bolcom's 3 Ghost Rags were written in the tr
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"A Stylistic Survey and Performance Guide of Three Popular Rags and Three Rags, Composed after 2008 by William Bolcom." Doctoral diss., 2020. http://hdl.handle.net/2286/R.I.57314.

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abstract: This research paper will examine William Bolcom’s compositional style and performance challenges related to Three Popular Rags (1967-1968), Knockout: A Rag (2008), Estela: Rag Latino (2010), and Contentment - A Rag (2015). The aim is to reveal some of his contributions to the revival and expansion of ragtime. The paper includes a brief background on William Bolcom and a history of ragtime music. Differences between the compositional styles of Scott Joplin and Bolcom are discussed through descriptive analysis, focusing on musical forms, rhythms, harmonies, and textures. The performanc
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Books on the topic "Ragtime music"

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Charles, Ives. Ragtime dances: Set of four ragtime dances for theater orchestra. Peer International Corp., 1990.

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Confrey, Zez. Three pieces for solo piano. Masters Music Publications, 1999.

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Joplin, Scott. At the piano with Scott Joplin. Alfred Pub. Co., 1990.

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Hutter, Gregory J. The melancholy rags. ECS Pub., 2007.

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Carriker, Robert. Four piano rags. MarGun Music, 1991.

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Waldo, Terry. This is ragtime. Da Capo Press, 1991.

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Waldo, Terry. This is ragtime. Da Capo Press, 1991.

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John, Hasse, ed. Ragtime: Its history, composers and music. Macmillan, 1985.

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Karp, Larry. The ragtime fool. Poisoned Pen Press, 2010.

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1948-, Hasse John Edward, ed. Ragtime: Its history, composers, and music. Schirmer Books, 1985.

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Book chapters on the topic "Ragtime music"

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Riddle, Ronald. "Novelty Piano Music." In Ragtime. Palgrave Macmillan UK, 1985. http://dx.doi.org/10.1007/978-1-349-08401-2_20.

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Riddle, Ronald. "Novelty Piano Music." In Ragtime. Palgrave Macmillan UK, 1985. http://dx.doi.org/10.1007/978-1-349-08404-3_20.

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Cohen, Norm, and David Cohen. "Ragtime in Early Country Music." In Ragtime. Palgrave Macmillan UK, 1985. http://dx.doi.org/10.1007/978-1-349-08401-2_21.

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Cohen, Norm, and David Cohen. "Ragtime in Early Country Music." In Ragtime. Palgrave Macmillan UK, 1985. http://dx.doi.org/10.1007/978-1-349-08404-3_21.

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Dorf, Samuel N., Heather MacLachlan, and Julia Randel. "Ragtime." In Anthology to Accompany Gateways to Understanding Music. Routledge, 2020. http://dx.doi.org/10.4324/9781003041542-40.

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Michelson, Joel, Hong Xu, and Phillip B. Kirlin. "Probabilistic Generation of Ragtime Music from Classical Melodies." In Mathematics and Computation in Music. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-71827-9_27.

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Merwe, Peter Van Der. "Ragtime." In Origins of the Popular Style. Oxford University PressOxford, 1992. http://dx.doi.org/10.1093/oso/9780198163053.003.0030.

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Abstract A Few years before the end of the nineteenth century, genuine black American music became a lucrative commercial property. For generations it had gradually been making its way up in the world; now, suddenly, it managed to attract the attention of big business. Like all apparently sudden historical developments, however, this was really a more gradual affair than appears in retrospect. Comic black characters, speaking a pseudo-Negro dialect, were a feature of English ballad operas, which were also popular in America. What was later to be called the ‘coon song’ was familiar to late eighteenth-century English audiences; one, of 1790, actually mentions the banjo. There is no evidence that the popularity of these characters had anything to do with genuine Afro American music.
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"Ragtime and the Cake Walk:." In Freedom Music. University of Wales Press, 2019. http://dx.doi.org/10.2307/jj.14491581.12.

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Berlin, Edward A. "Seminary Music and New Directions, 1908–1909." In King of Ragtime. Oxford University Press, 2016. http://dx.doi.org/10.1093/acprof:oso/9780199740321.003.0014.

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Magee, Jeffrey. "Ragtime and early jazz." In The Cambridge History of American Music. Cambridge University Press, 1998. http://dx.doi.org/10.1017/chol9780521454292.015.

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Conference papers on the topic "Ragtime music"

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Tcacenco, Victoria. "Genres of jazz origin in moldovan music from the first half of the 20th century: Ragtime by Ștefan Neaga." In Conferința științifică internațională "Învăţământul artistic – dimensiuni culturale". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2022. http://dx.doi.org/10.55383/iadc2022.02.

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This article represents the first attempt in national and world musicology to introduce into the scientific circuit the piano piece named Ragtime written by the classic of the Moldovan national school of composition Ştefan Neaga in 1935. The author analyzes some aesthetic and stylistic features of this genre of early jazz reflected in Ş. Neaga’s opus, using the tools of comparative analyses. As for the material for comparison, collections written by the classic of ragtime music, the American composer Scott Joplin, have been studied. At the same time, a non-traditional treatment of the typical
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Socican, Igor. "The New Orleans and Chicago styles aspects from the perspective of the jazz double bass." In Conferința științifică internațională "Învăţământul artistic – dimensiuni culturale". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2022. http://dx.doi.org/10.55383/iadc2022.05.

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The author aims to outline some aspects of the New Orleans and Chicago Jazz styles, to show the importance of the ethnic, geographical, and legal factors in the emergence of New Orleans Jazz in the early 1900s and its later derivation into the Chicago Style in the 1920s. There are examined the beneficial predecessor factors of these styles — the evolution of street brass band orchestras (marching bands), the spirituals, the blues and ragtime and their stylistic features, collective improvisation, the call-and-response principle, that have been the base for the development of jazz music in gene
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