- Taschenbuch: 352 Seiten
- Verlag: Oxford University Press USA; Auflage: New Ed (1. Januar 1994)
- Sprache: Englisch
- ISBN-10: 0195101081
- ISBN-13: 978-0195101089
- Größe und/oder Gewicht: 23,3 x 2,2 x 15,6 cm
- Durchschnittliche Kundenbewertung: 2 Kundenrezensionen
- Amazon Bestseller-Rang: Nr. 906.609 in Fremdsprachige Bücher (Siehe Top 100 in Fremdsprachige Bücher)
King of Ragtime: Scott Joplin and His Era (Englisch) Taschenbuch – 1. Januar 1994
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"The most accurate and informative Joplin biography."--Time
"What a scrupulous historian and musicologist Mr. Berlin is, rigorously sorting through the facts of Joplin's life and era....The history of popular music needs this."--The New York Times
"Not only was no stone left unturned [by Berlin], but very few pebbles are left for other scholars to pick up."--San Francisco Chronicle
In 1974, the academy award-winning film The Sting brought back the music of Scott Joplin, a black ragtime composer who died in 1917. Led by The Entertainer, one of the most popular pieces of the mid-1970s, a revival of his music resulted in events unprecedented in American musical history. Never before had any composer's music been so acclaimed by both the popular and classical music worlds. While reaching a "Top Ten" position in the pop charts, Joplin's music was also being performed in classical recitals and setting new heights for sales of classical records. His opera Treemonisha was performed both in opera houses and on Broadway. Destined to be the definitive work on the man and his music, King of Ragtime is written by Edward A. Berlin. A renowned authority on Joplin and the author of the acclaimed and widely cited Ragtime: A Musical and Cultural History, Berlin redefines the Scott Joplin biography. Using the tools of a trained musicologist, he has uncovered a vast amount of new information about Joplin. His biography truly documents the story of the composer, replacing the myths and unsupported anecdotes of previous histories.He shows how Joplin's opera Treemonisha was a tribute to the woman he loved, a woman other biographers never even mentioned. Berlin also reveals that Joplin was an associate of Irving Berlin, and that he accused Berlin of stealing his music to compose Alexander's Ragtime Band in 1911. Berlin paints a vivid picture of the ragtime years, placing Scott Joplin's story in its historical context. The composer emerges as a representative of the first post-Civil War generation of African Americans, of the men and women who found in the world of entertainment a way out of poverty and lowly social status. King of Ragtime recreates the excitement of these pioneers, who dreamed of greatness as they sought to expand the limits society placed upon their race. Alle Produktbeschreibungen
It is a detective story putting the clues together how his life was lived. This makes it an interesting read.
The only warning I would have is that it is blocky and interrupted with music scores and other interludes which don't lend itself to a reading rhythm.
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This book is probably as thorough of a study into the life of Scott Joplin as is possible. Edward Berlin has obviously exhausted every resource available to him, and throughout, the book is well-noted - that is to say he gives credit to probably 99.9% of the sources of his information in the section for notes. Berlin has went through census records, newspapers, other books on ragtime, interviews with/statements given by numerous people affiliated with Scott Joplin and countless other sources for this book. This book is 99.9% true, solid facts; he seldom states a personal opinion, and when he does, it is made blatantly clear that that is what he is doing. This book also includes a listing of the complete known works of Scott Joplin, and the sheet music for the three songs "Good-bye Old Gal Good-bye", "Snoring Sampson" and "Lovin' Babe". (I would like to say in response to someone else's review that it is very difficult for me to see how the biography of a *musician* can be "interrupted" with music scores.)
As a side comment, it was also nice to figure out why so many of his piano pieces were written in Bb! I hadn't known about his close association with brass bands before reading this, but that explains his key signature choices very well.