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003 OCoLC;

005 20141212132709.0;

008 990429s2000 nyuac b 001 0 eng ;

010 a| 99031803;

020 a| 0028647432;

035 a| (Sirsi) o41311379;

035 a| (OCoLC)41311379;

040 a| DLCc| DLCd| C#Pd| UtOrBLW;

042 a| pcc;

049 a| EREM;

050 00 a| ML3530b| .J38 2000;

082 00 a| 781.64/52| 21;

100 1 a| Jasen, David A.=| ^A47546;

245 10 a| That American rag :b| the story of ragtime from coast to coast /c| David A. Jasen, Gene Jones.;

300 a| xli, 433 pages :b| illustrations, portraits ;c| 24 cm;

336 a| text2| rdacontent;

337 a| unmediated2| rdamedia;

338 a| volume2| rdacarrier;

504 a| Includes bibliographical references (pages 407-413) and indexes.;

520 a| In 1899, a young Texas-born composer with a handful of compositions to his name approached a small-town music publisher with a new composition. Named for a local music club, the piece resembled a march in its four-part organization, but it featured a lively, syncopated accompaniment and a lilting melody that set the body swaying. The composer was Scott Joplin, the publisher John Stark of Sedalia, Missouri, and the piece--"The Maple Leaf Rag"--created a revolution in American music. It would go on to sell over a million copies. Ragtime music swept the nation--and the national consciousness--in the first decades of the 20th century. Everyone, it seems, was playing the music--and anybody with a little keyboard skill, access to a local music publisher, and a little gumption could get their work into print. Occasionally, one of these compositions would burst through the national consciousness and become a hit--however, the vast majority were published and quickly forgotten, creating a momentary celebrity for their author before disappearing. The authors have unearthed these hidden treasures of America's music to write the first full history of ragtime, from its heyday in the early years of the century up through its revival today. Treating ragtime as a serious and legitimate musical style--not just as a "precursor" of jazz--the authors show how hundreds of Americans--from different, racial, ethnic, and economic backgrounds--participated in the creation of this memorable musical style. The book begins in the heart of ragtime country: Missouri, home of ragtime's great composers Scott Joplin, Tom Turpin--owner of the legendary Rosebud Bar in St. Louis--and James Scott, Joplin's pianistic protege. But the authors go beyond the traditional ragtime canon to uncover many more stories that have been previously only partially known--if they were known at all. You'll read about Charles L. Johnson, the Kansas City citizen who penned "Dill Pickles" rag, an immediate hit in sheet music and on record, and still a favorite challenge to stringbenders. Two great novelty pianists, Zez Confrey--who wrote "Kitten on the Keys" and dozens more finger-tangling instrumentals--and Roy Bargy are profiled, both of whom had a profound impact on American popular music. Chicago's Axel Christensen did for ragtime what Arthur Murray would do for popular dancing: established a chain of "schools," promising to teach ragtime to anyone in the proverbial ten easy lessons.;

650 0 a| Ragtime musicx| History and criticism.=| ^A1013881;

700 1 a| Jones, Geneq| (Gordon Gene)=| ^A416471;

910 a| PromptCat;

980 a| 1999-12-08b| 29.95d| 1.51e| 25.16f| 76699;

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That American rag : the story of ragtime from coast to coast / David A. Jasen, Gene Jones.

Author/creator	Jasen, David A.
Other author	Jones, Gene (Gordon Gene)
Format	Book
Publication Info	New York : Schirmer Books, ©2000.
Description	xli, 433 pages : illustrations, portraits ; 24 cm
Subjects	Ragtime music--History and criticism.

Contents	Missouri ragtime. Six profiles in Missouri ragtime ( Brun Campbell ; Clarence Woods ; Calvin Lee Woolsey ; Blind Boone ; Percy Wenrich ; James Scott) ; St. Louis before ragtime: music with a German accent ; Tom Turpin: from Savannah to St. Louis ; Scott Joplin: from Sedalia to St. Louis ; John Stark: from Kentucky to St. Louis ; The flowering of St. Louis ragtime: 1900-1905 ; Interlude: John Stark in New York, 1905-1910 ; St. Louis: Stark and Turpin play it out, 1910-1922 ; Kansas City: the first frontier ; J.W. Jenkins' Son ; Charles L. Johnson & Company/Johnson Publishing Company ; Carl Hoffman Music Company -- Ragtime in mid-America. Seven profiles in mid-American ragtime ( Charley Straight ; Clarence M. Jones ; Henry Fillmore ; Bart Howard ; Alvin Marx ; Adaline Shepherd ; Eric Severin) ; Chicago before ragtime: out of the mud, out of the ashes ( Will Rossiter ; Arnett-Delonais Company/F. J. A. Forster Music Publisher ; Victor Kremer Company ; The Christensen school of popular music ; McKinley Music Company/Frank K. Root & Company ; Melrose Brothers Music Company) ; Cincinnati: from Losantiville to Bucktown ( Joseph Krolage Music Publishing Company ; Mentel Brothers Publishing Company ; W. H. Willis Company) ; Cleveland: taking care of business ( Sam Fox Publishing Company) ; Indianapolis: Hoosier Capital ( J. H. Aufderheide & Company) -- Ragtime in the south. Five profiles in southern ragtime ( Charles Hunter ; Robert Hoffman ; Ferd Guttenberger ; Edward B. Claypoole ; Edwin H. See) ; New Orleans: souvenirs of carnival ( Louis Grunewald Company ; P. P. Werlein ; Cable Music Company ; Hakenjos Piano Manufacturing Company, inc.) ; Nashville: music city before country ( H. A. French ; Frank G. Fite ; Lew Roberts Music Company) -- Ragtime in the west. Three profiles in western ragtime ( Jay Roberts ; Ray Soladay ; Nacio Herb Brown) ; San Francisco: the best dollar dinner on Earth ( Sherman, Clay and Company) ; Dallas: the cowtown with manners ( Bush & Gerts) ; The ragtime revival in the west -- Ragtime in the northeast. Four profiles in northeastern ragtime ( George L. Cobb ; Guy Hall and Henry Kleinkauf ; Willie Eckstein) ; Boston: the Athens of America ( Walter Jacobs) ; Williamsport: proud past, promising future ( Vandersloot Music Company) ; Washington, DC: southern efficiency, northern charm ( The H. Kirkus Dugdale Company) -- Ragtime in New York City. Two profiles in New York City ragtime ( Henry Lodge ; George Botsford) ; New York City publishers of ragtime ( M. Witmark & Sons ; Joseph W. Stern & Company/Edward B. Marks Music Corporation ; Jerome H. Remick & Company ; Seminary Music Company/Rose & Snyder/Ted Snyder Company/Waterson, Berlin & Snyder ; Jack Mills, inc./Mills Music inc. ; Richmond-Robbins/Robbins-Engel/Robbins Music Corporation/The big three) -- Appendix A. Ragtime composers by birthplace ; Appendix B. Pseudonyms and professional names of ragtime composers ; Appendix C. Ragtime publication by state (and Canada) ; Appendix D. A checklist of 2,002 published rags.
Abstract	In 1899, a young Texas-born composer with a handful of compositions to his name approached a small-town music publisher with a new composition. Named for a local music club, the piece resembled a march in its four-part organization, but it featured a lively, syncopated accompaniment and a lilting melody that set the body swaying. The composer was Scott Joplin, the publisher John Stark of Sedalia, Missouri, and the piece--"The Maple Leaf Rag"--created a revolution in American music. It would go on to sell over a million copies. Ragtime music swept the nation--and the national consciousness--in the first decades of the 20th century. Everyone, it seems, was playing the music--and anybody with a little keyboard skill, access to a local music publisher, and a little gumption could get their work into print. Occasionally, one of these compositions would burst through the national consciousness and become a hit--however, the vast majority were published and quickly forgotten, creating a momentary celebrity for their author before disappearing. The authors have unearthed these hidden treasures of America's music to write the first full history of ragtime, from its heyday in the early years of the century up through its revival today. Treating ragtime as a serious and legitimate musical style--not just as a "precursor" of jazz--the authors show how hundreds of Americans--from different, racial, ethnic, and economic backgrounds--participated in the creation of this memorable musical style. The book begins in the heart of ragtime country: Missouri, home of ragtime's great composers Scott Joplin, Tom Turpin--owner of the legendary Rosebud Bar in St. Louis--and James Scott, Joplin's pianistic protege. But the authors go beyond the traditional ragtime canon to uncover many more stories that have been previously only partially known--if they were known at all. You'll read about Charles L. Johnson, the Kansas City citizen who penned "Dill Pickles" rag, an immediate hit in sheet music and on record, and still a favorite challenge to stringbenders. Two great novelty pianists, Zez Confrey--who wrote "Kitten on the Keys" and dozens more finger-tangling instrumentals--and Roy Bargy are profiled, both of whom had a profound impact on American popular music. Chicago's Axel Christensen did for ragtime what Arthur Murray would do for popular dancing: established a chain of "schools," promising to teach ragtime to anyone in the proverbial ten easy lessons.
Bibliography note	Includes bibliographical references (pages 407-413) and indexes.
LCCN	99031803
ISBN	0028647432

That American rag : the story of ragtime from coast to coast / David A. Jasen, Gene Jones.

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