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Ragtime: A Musical and Cultural History (University of California Press, 1980)I started my ragtime investigations not with ideas of producing a book, but as an academic exercise. I thought I knew what ragtime was; I had read the literature, I knew what writers had to say about the subject. Still needed, I had concluded, was only a more methodical exploration of the music -- in musical terms -- and a clarification of the ragtime’s evolution.
My study of the music proceeded smoothly, but readings from the period magazines and newspapers raised questions in my mind. Time and again I came across commentary of a ragtime that I had not associated with the music I was studying. How could I reconcile this discrepancy? I asked that question of an established author in the field. He responded that the people of the ragtime years did not know what ragtime was. While that point of view might resolve the discrepancies, it was not a road I could follow. A more reasonable evaluation was required, and the results of that evaluation turned my academic exercise into a book. The book’s publication was met with a variety of reactions. Some critics grasped my intent and applauded where I was successful. Some nodded approvingly, occasionally for the wrong reasons. A few, from what I consider the reactionary camp of ragtimers, resented that I had disturbed their most fondly held beliefs and denounced me for ignorance. One particularly vituperative attacker wrote to me a year later with an apology. He had consulted readings in my notes and bibliography and came to realize that I was right. How could he remedy the damage done by his words? His words had done little, if any, damage, but I thanked him for his good wishes. CONTENTS Part One. THE RAGTIME ERA: PERCEPTIONS OF THE MUSIC I. The Scope of Ragtime Ragtime as Popular Song The Ragtime Band Ragtime for Other Instrumental Combinations Syncopation Ragtime Dance Jazz and the Close of the Ragtime Era II. Origins and Early Manifestations Origins of the Music Origins of the Term III. The Ragtime Debate Ragtime Texts Lowering of Musical Tastes The Attack The Counterattack Part Two. PIANO RAGTIME IV. The Varieties of Ragtime Songs Piano Renditions of Ragtime Songs Ragging Unsyncopated Music Original Ragtime Compositions for Piano The Score versus Performance. V. Early Piano Ragtime Early Rags Ragtime Syncopation Ragtime Melodies Form VI. Musical Sources of Early Ragtime The March The Cakewalk Black Character Pieces and Patrols Coon Songs Caribbean Dance Rhythms Other Source Attributions VII. A Cohesive Style Develops Loss of Ethnic Identity Rhythmic Changes Secondary Ragtime Form Unifying Relationships Development of “Measure 13” Conventions VIII. The Erosion of a distinctive Style Dotted Rhythms Other Expansions of the Ragtime Language Bluesy Rags and Raggy Blues Jazz Novelty Piano Other Applications and Misapplications Part Three. THE HISTORICAL PERSPECTIVE IX. The Historiography of Ragtime Vocal Ragtime versus Piano Ragtime The Ragtime Revival X. A Consideration of Style The Perception of Style Classic Ragtime: Stark and Joplin Classic Ragtime: Blesh and Janis Classic Ragtime: Schafer and Riedel Toward a Definition of Classic Ragtime Other Ragtime Classifications Click to return to the reviews of Ragtime. Ragtime: A Musical and Cultural History was in print with University of California Press from 1980 to 2000. The 1984 paperback edition is now available in an unaltered, on-demand reprint, an Authors Guild Backinprint.com edition. It can be ordered from iUniverse . For those who are interested, I will sell autographed copies at a slightly greater cost. I also have a few remaining hard cover copies for sale. Email me for information. ------------- Copyright (c) 2002-2010 Edward A. Berlin |
