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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).
At the time, Chicago was a major centre for jazz—which had displaced ragtime as the popular music—and when combined with Prohibition, created a lucrative environment for entertainment. Stein adjusted to the new landscape and shifted from booking bands for weddings to nightclubs.
Felix Arndt (1889–1918),"Desecration Rag" (1914), "Nola" (1916), [1] "Operatic Nightmare" (1916); May Aufderheide (1888–1972), "Dusty Rag" (1908) [2]; Roy Bargy ...
May Aufderheide was a member of the Indianapolis ragtime community that included Paul Pratt, Cecil Duane Crabb, J. Russel Robinson, Will B. Morrison, Julia Lee Niebergall, and Gladys Yelvington. The popularity of her first published rag, "Dusty", convinced her father, Indianapolis loan broker John H. Aufderheide, to enter the music publishing ...
"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 ...
Ernest Hogan. Ernest Hogan (born Ernest Reuben Crowdus; 1865 – May 20, 1909 [1]) was the first Black American entertainer to produce and star in a Broadway show, The Oyster Man, in 1907 (shows at the African Grove Theatre preceded it by generations) and helped to popularize the musical genre of ragtime.
Marvin Hamlisch lightly adapted and orchestrated Joplin's music for the 1973 film The Sting, for which he won an Academy Award for Best Original Song Score and Adaptation on April 2, 1974. [11] His version of "The Entertainer" reached No. 3 on the Billboard Hot 100 on May 18, 1974, [ 13 ] [ 14 ] prompting The New York Times to write, "the whole ...
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.