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Editorial Reviews
From Publishers Weekly
Although he did not invent ragtime, Joplin (1868-1917) is the best-known exponent of this type of jazz, with its characteristic syncopated rhythms. Berlin (Ragtime: A Musical and Cultural History) shows how Joplin launched his career in the black social clubs of Sedalia, Mo.; achieved success with the Maple Leaf Rag; and went on to win the respect of whites as well as his fellow African Americans, composing numerous rags and two operas, A Guest of Honor (now lost) and Treemonisha. Joplin, whose father was born into slavery, aspired to transcend his humble origins, but because details of his personal history are elusive, Berlin's conclusions about Joplin's often unhappy life and personal relationships tend to be speculative. The author lands on solid ground, however, with his analysis of Joplin's sophisticated and innovative compositions, demonstrating clearly how he expanded the language of ragtime. In the final chapter, Berlin brings the story full circle with a comprehensive summary of the fate of ragtime from its eclipse in the 1920s and 1930s to its comeback in the 1940s and the revival of Joplin's work still going on today. Photos not seen by PW.
Copyright 1994 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
From Library Journal
Joplin knew he had a distinctive talent and so did several well-placed contemporaries, yet he never realized widespread acclaim during his lifetime (1868-1917). If he were alive today he could revel in the unique ways his music has placed him at the top: concert artists' repertoire; film music; an annual festival; even a postage stamp. Still, information on Joplin has been sparse. Here Berlin (author of Ragtime: A Musical and Cultural History, LJ 3/1/80) helps by examining dates and events that are in question. Berlin provides two interesting features: a detailed listing of music published and copyrighted by Joplin during his lifetime and the music and text of three songs arranged by Joplin that were left out of NYPL's definitive The Complete Works of Scott Joplin (1981). Readers will want to compare Berlin's book with Susan Curtis's Dancing to a Black Man's Tune: A Life of Scott Joplin (LJ 4/15/94). Recommended for American music collections.
Kathleen Sparkman, Baylor Univ., Waco, Tex.
Copyright 1994 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
See all Editorial Reviews
Although he did not invent ragtime, Joplin (1868-1917) is the best-known exponent of this type of jazz, with its characteristic syncopated rhythms. Berlin (Ragtime: A Musical and Cultural History) shows how Joplin launched his career in the black social clubs of Sedalia, Mo.; achieved success with the Maple Leaf Rag; and went on to win the respect of whites as well as his fellow African Americans, composing numerous rags and two operas, A Guest of Honor (now lost) and Treemonisha. Joplin, whose father was born into slavery, aspired to transcend his humble origins, but because details of his personal history are elusive, Berlin's conclusions about Joplin's often unhappy life and personal relationships tend to be speculative. The author lands on solid ground, however, with his analysis of Joplin's sophisticated and innovative compositions, demonstrating clearly how he expanded the language of ragtime. In the final chapter, Berlin brings the story full circle with a comprehensive summary of the fate of ragtime from its eclipse in the 1920s and 1930s to its comeback in the 1940s and the revival of Joplin's work still going on today. Photos not seen by PW.
Copyright 1994 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
From Library Journal
Joplin knew he had a distinctive talent and so did several well-placed contemporaries, yet he never realized widespread acclaim during his lifetime (1868-1917). If he were alive today he could revel in the unique ways his music has placed him at the top: concert artists' repertoire; film music; an annual festival; even a postage stamp. Still, information on Joplin has been sparse. Here Berlin (author of Ragtime: A Musical and Cultural History, LJ 3/1/80) helps by examining dates and events that are in question. Berlin provides two interesting features: a detailed listing of music published and copyrighted by Joplin during his lifetime and the music and text of three songs arranged by Joplin that were left out of NYPL's definitive The Complete Works of Scott Joplin (1981). Readers will want to compare Berlin's book with Susan Curtis's Dancing to a Black Man's Tune: A Life of Scott Joplin (LJ 4/15/94). Recommended for American music collections.
Kathleen Sparkman, Baylor Univ., Waco, Tex.
Copyright 1994 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
See all Editorial Reviews
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