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While the word ragtime was first known to be used in 1896, the term probably originates in the dance events hosted by plantation slaves known as “rags”. [4] The first recorded use of the term ragtime was by vaudeville musician Ben Harney who in 1896 used it to describe the piano music he played (which he had extracted from banjo and fiddle players).
Felix Arndt (1889–1918),"Desecration Rag" (1914), "Nola" (1916), [1] "Operatic Nightmare" (1916); May Aufderheide (1888–1972), "Dusty Rag" (1908) [2]; Roy Bargy ...
Joseph Francis Lamb (December 6, 1887 – September 3, 1960) was an American composer of ragtime music. Lamb, of Irish descent, was the only non-African American of the "Big Three" composers of classical ragtime, the other two being Scott Joplin and James Scott. The ragtime of Joseph Lamb ranges from standard popular fare to complex and highly ...
"Cake Walk in the Sky" was published by M. Witmark & Sons in New York in 1899. On the cover to the sheet music, "Cake Walk in the Sky" is described as a "March A La Ragtime" and as "A Rag-Time Nightmare". In January 1896 Harney moved to New York City, where he appeared regularly at Tony Pastor's Music Hall. That same year Harney was referred to ...
Musicians who are notable for their playing of ragtime music include (in alphabetical order): This is a dynamic list and may never be able to satisfy particular standards for completeness. You can help by adding missing items with reliable sources .
Hogan's songs were among the first published ragtime songs and the first to use the term "rag" in their sheet music copy. While Hogan made no claims to having exclusively created ragtime, fellow black musician Tom Fletcher said Hogan was the "first to put on paper the kind of rhythm that was being played by non-reading musicians."
When it was published, it was considered significantly more difficult than the average Tin Pan Alley and early ragtime sheet music common at the time. "Gladiolus Rag," a later composition by Joplin, is a developed variant of the "Maple Leaf Rag" showcasing Joplin's increasing musical sophistication, and is usually played at a somewhat slower tempo.
In doing so, he created an exciting and novel fusion of ragtime, black sacred music, marching-band music, and rural blues. He rearranged the typical New Orleans dance band of the time to better accommodate the blues: string instruments became the rhythm section, and the front-line instruments were clarinets, trombones, and Bolden's cornet.