The Radical Genius of Scott Joplin by Bryan Cather Scott Joplin is, today, probably the best-known composer of a genre of music known as “ragtime”. A precursor to both blues and jazz, ragtime emerged on the musical scene just prior to the turn of the twentieth century and was characterized by a complexly syncopated treble melodic line set against an un-syncopated, marchlike bass. Immensely popular with the general public, ragtime today is often regarded as establishing the fundamental structure of popular music. As ragtimes most revered – and recognized – composer, Scott Joplin is often cast as a foundational genius, whose works formed much of the basis of our popular music, and whose influence was both far reaching and profound. Indeed, Joplins Maple Leaf Rag was and is a fundamental part of our musical heritage, and his influence on the first generation of Jazz and popular composers is beyond question. A closer examination of Joplins music, life, and work reveals him far more than an influential composer of popular music. From at least the time of his arrival in St Louis in 1901, Joplin seems increasingly interested in creating what today would be called “classical” music. Indeed, his moving to St Louis seems to have been largely in response to the interest Alfed Ernst, the German-born conductor of the St Louis Choral Symphony Society (Precursor to todays St Louis Symphony Orchestra) had shown in taking Joplin as a student. Whether or not Ernst and Joplin found time to work together is questionable, the known schedules of both men would have made it difficult, at best. A more plausible possibility is that Ernst connected Joplin with other classical musicians in St Louis who were able to provide a means by which Joplin could hone his skills. In either case, it is during his time in St Louis that Joplins music begins to shift from the rollicking, dance-like nature of his earlier works, such as Original Rags and Maple Leaf Rag to more sedate, almost delicate-sounding pieces like The Chrysanthemum, most likely a reflection of Joplins striving to create a more classical sound After moving to New York in 1907, Joplin again sought classical instruction, this time working with the Italian pedagauge Bruto Gianni. which is again reflected in the increasing complexity of his music, as seen in such works as Euphonic Sounds and Magnetic Rag. Not long after arriving in New York, Joplin spelled out in no uncertain terms how he understood his music, and his intentions for its performance. In his 1908 “School of Ragtime” he writes We wish to say here that the “Joplin ragtime” is destroyed by careless or imperfect rendering, and very often good players lose the effect entirely by playing too fast. They are harmonized with the supposition that each note will be played as it is written, as it takes this and also the proper time divisions to complete the sense intended. This is quite the opposite of the approach one typically takes to popular music, in which the printed page is merely a starting point, a springboard for ones own interpretation. Rather, Joplin would have his music played in much the same way one would play the music of Grieg, Chopin or Liszt, by carefully adhering to exactly what is written. I am firmly convinced that Scott Joplin, at least by the time he was living in St Louis and certainly by the time he departed for New York, understood himself to be a classical composer and his music as an African-American contribution to the world of classical music. Scott Joplin was by no means the first African-American classical composer. The long, rich history of African-American classical composers can be traced to Colonial America. But what made Joplin unique was his radical idea of incorporating Afro-centric musical concepts like complex syncopation, polyrhymic forms, close harmony – what another generation would call “Jazz Elements” into the broader realm of classical music. This is a profoundly radical idea for its time. Classical music, even into the middle of the twentieth century, was understood to be one of the highest expressions of European culture. This understanding so permeated society that not only were the best musical organizations in the US made up of and led by Europeans, but for generations the best American composers had sought to emulate European models. That an American could contribute something worthwhile to the European musical tradition was preposterous, that an African-American could was patently unthinkable. But the radical nature of Joplins work does not end there. During Joplins lifetime, boundaries of race, culture and ethnicity were strictly drawn. An individual might become a successful businessman, artist, or other leader within the Jewish community, within the African-American community, within the Italian or Irish or Russian community, but, by and large their recognition, their importance, and their contributions were within the community in which they found themselves. Only rarely, very rarely, did an individual gain broader recognition, and, when they did it was often at the expense of shedding their racial and ethnic identities. Within this context, Joplins striving to create an African-American contribution to the broader world of classical music becomes all the more radical. Joplin transcends ethnic and racial barriers, bringing an unprecedented rhythmic, harmonic and structural palette to the musical world, and then deftly demonstrates the beauty, the variety, and the delightful possibilities it contains. Joplin offers up his Afro-centric musical heritage, not as “black mans music for the black man” but as a contribution to the broader musical community. In more contemporary terms, Joplin sought to integrate the Afro-centric musical elements into the broader musical society....a profoundly radical idea in a time when segregation, both in African-American society and in society as a whole, was the norm. Is it not surprising, then, that the true scope of Joplins genius was not fully understood until decades after his death.
Posted on: Sat, 16 Aug 2014 02:05:30 +0000
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