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Dancing to a Black Man's Tune: A Life of Scott Joplin (Missouri Biography Series) ePub download

by Susan Curtis

  • Author: Susan Curtis
  • ISBN: 0826215475
  • ISBN13: 978-0826215475
  • ePub: 1452 kb | FB2: 1508 kb
  • Language: English
  • Category: Americas
  • Publisher: University of Missouri; First edition (August 1, 2004)
  • Pages: 288
  • Rating: 4.5/5
  • Votes: 731
  • Format: mbr txt docx doc
Dancing to a Black Man's Tune: A Life of Scott Joplin (Missouri Biography Series) ePub download

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Dancing to a Black Man's. DuBois, had themselves received excellent educationas and knew this life only at second-hand. The best section of the book for me thus was Dr. Curtis's treatment of Joplin's failed opera Treemonisha, on which he lavished a great deal of attention following his move to New York.

In this interpretive biography, Susan Curtis recounts the life of Scott Joplin, the great African American ragtime composer whose musical genius helped break down racial barriers and led America to a new cultural frontier. Born in 1868 to former slaves, Scott Joplin lived at a time when white Americans routinely denied African Americans basic civil rights, economic opportunities, and social standing. In spite of these tremendous obstacles, Joplin and other musicians created a musical form that was eagerly embraced by white, middle-class Americans

Part of the Missouri Biography Series).

Part of the Missouri Biography Series). By using Scott Joplin's life as a window onto American social and cultural development at the turn of the century, this biography dramatizes the role of one brilliant African American musician in defining the culture of a still-young nation.

Susan Curtis's book, "Dancing to a Black Man's Tune: A Life . By writing seriously about Scott Joplin and about ragtime, Dr Curtis's book may take a step in that direction.

Susan Curtis's book, "Dancing to a Black Man's Tune: A Life of Scott Joplin" is a start. Dr Curtis is Professor of History and American Studies and Director of Interdisciplinary Studies at Purdue University. Dr. Curtis discusses the important stages in Joplin's life and relates them to ongoing events in the United States with an emphasis on how African American - white relations impacted his music.

University of Missouri Press, 2004 - 265 pages. DANCING TO A BLACK MAN'S TUNE: A Life of Scott Joplin. Not really a biography, but an episodic social history centering on the life of ragtime composer Scott Joplin.

Black & Asian Studies Susan Curtis's book is more than biography, more than cultural history

Black & Asian Studies. Dancing to a Black Man's Tune : A Life of Scott Joplin. Missouri Biographies (Paperback). Format Paperback 288 pages. Susan Curtis's book is more than biography, more than cultural history. It is a skillfully interwoven telling of Joplin's story within the mosaic of America's social and cultural evolution at the turn of the century.

The following is a complete list of musical compositions by Scott Joplin (ca. 1867 – April 1, 1917). Scott Joplin was born in Arkansas in around 1867, just outside Texarkana, and was a street performer before settling in Sedalia, Missouri, St. Louis, Missouri, and finally New York City where he died in 1917. He was an American composer and pianist, who achieved fame for his ragtime compositions, and was dubbed "The King of Ragtime"

By using Scott Joplin's life as a window onto American social and cultural development at the turn of the century, this biography dramatizes . Missouri Biography Series. University of Missouri Press.

By using Scott Joplin's life as a window onto American social and cultural development at the turn of the century, this biography dramatizes the role of one brilliant African American musician in defining the culture of a still-young nation.

Dancing to a Black Man's Tune: A Life of Scott Joplin (Missouri Biography Series). Coauthors & Alternates. ISBN 9780826215475 (978-0-8262-1547-5) Softcover, University of Missouri, 2004. Find signed collectible books: 'Dancing to a Black Man's Tune: A Life of Scott Joplin (Missouri Biography Series)'.

Joplin moved to Sedalia, Missouri, in 1894 and earned a. .

Joplin moved to Sedalia, Missouri, in 1894 and earned a living as a piano teacher. There he taught future ragtime composers Arthur Marshall, Scott Hayden and Brun Campbell. He began publishing music in 1895, and publication of his "Maple Leaf Rag" in 1899 brought him fame. Biographer Susan Curtis speculated that the mother's support of Joplin's musical education was critical to the parents' separation According to a family friend, the young Joplin was serious and ambitious, studying music and playing the piano after school.

By using Scott Joplin's life as a window onto American social and cultural development at the turn of the century, this biography dramatizes the role of one brilliant African American musician in defining the culture of a still-young nation.

Morlurne
Susan Curtis's passion is more for cultural history than for Scott Joplin. She says as much in her preface where she describes Scott Joplin as "the perfect vehicle for the questions I wanted to ask." I felt I was reading her cultural theories rather than a biography of Joplin. She pays little attention to his music. There are no musical examples. And most of his rags are not even mentioned.

As a book on the culture of his day this is a good read. However, for those who would prefer a book on and about Scott Joplin I would recommend Edward A. Berlin's book 'King of Ragtime'.
Dawncrusher
Scott Joplin (1868 -- 1917)was a great composer of the unique American music known as ragtime. Ragtime flourished from roughly 1900 -- 1920 when it faded into obscurity with the advent of jazz. It enjoyed a revival beginning in the 1970s with the movie "The Sting", several popular recordings, and the production of Joplin's opera Treemonisha. Ragtime is an enchanting American music, both lyrical and strongly rhythmical that has components of both classical music and jazz. I greatly enjoy playing Joplin's rags on the piano as well as the rags of his lesser-known but gifted colleagues, James Scott and Joseph Lamb.

A full account of ragtime and its place in American culture remains to be written. Susan Curtis's book, "Dancing to a Black Man's Tune: A Life of Scott Joplin" is a start. Dr Curtis is Professor of History and American Studies and Director of Interdisciplinary Studies at Purdue University. It is thus understandable that her book draws widely on American history and on relationships between African Americans and whites in attempting to understand Scott Joplin and ragtime.

Dr. Curtis discusses the important stages in Joplin's life and relates them to ongoing events in the United States with an emphasis on how African American - white relations impacted his music. She emphasizes, and necessarily so, the effects of slavery (one of Joplin's parents had been a slave) and of Reconstruction and Jim Crow. Dr. Curtis describes how African Americans remained on the outside of white America to a large extent. Still, African American music, ragtime in particular, had a great appeal for white Americans and led to the ideal of an inter-racial American culture.

But Dr. Curtis's book shows, I think, that African American -- white relationships resist any simple summary. Joplin surely suffered from the effects of slavery and the rise of Jim Crow and from discrimination throughout his life. But Dr. Curtis also points out the ways in which black and white people worked together, how white people helped Joplin, and how Joplin encouraged the work of white composers of "negro" music. Joplin received piano lessons as a child from a German immigrant who recognized his talent. His music gained attention, probably, at the Chicago World's Fair in 1893 even though it lacked official status. There was substantial efforts at inter-racial harmony in Sedalia, Missouri where Joplin settled after a lengthy period as a wandering musician. His music was published and supported by John Stark, a white entrepeneur and he received encouragement from other white critics. When he moved to New York City, Joplin befriended and assisted in the publication of rags by Joseph Lamb, a gifted white composer of the music. Thus there was a great deal of complex interaction between black and white people in the origins and development of ragtime.

The book includes considerations of Joplin's childhood in Texas, his years as a wandering musician, his life in Sedalia which saw the publication of "Maple Leaf Rag" and other early successes, and his final years in New York. The discussion is informed by a great deal of consideration of American history which sometimes causes the book to lose focus. Dr Curtis shows well how Americans were fascinated by ragtime, although the music was subjected to severe and frequently racist opposition, due to the vicarious opportunity it offered to escape late 19th Century Victorian conventions, particularly those sexual in nature, and to liberate oneself.

I found the most insightful sections of Dr. Curtis's book were those that discussed Joplin's relationship with the African American community of his day. When he experienced a degree of success, Joplin moved to New York City but failed in his efforts to gain acceptance by many of the African American musicians and intellectuals in Harlem. Dr Curtis suggests that Joplin had experienced for himself the poverty and difficulty of life in the South in the aftermath of the Civil War while many of the Northern African American leaders, such as W.E.B. DuBois, had themselves received excellent educationas and knew this life only at second-hand. The best section of the book for me thus was Dr. Curtis's treatment of Joplin's failed opera Treemonisha, on which he lavished a great deal of attention following his move to New York. This folk-opera, in dialect (Joplin wrote his own libretto) was probably autobiographical in nature and described life in the rural South following the Civil War. It was out-of step with the then-beginning Harlem Rennaisance. Dr Curtis shows how ragtime showed disagreements within the African American community as well as occupying an ambiguous position in promoting black and white relationships.

The tone of the book is rather dry and academic. I found this unfortunate, scholarly as the book is, in that any book on ragtime or on music, scholarly or not, needs to sing to be effective. I found Dr. Curtis gave too little attention to the purely musical aspects of ragtime. The book has an extensive bibliography, good notes, and shows thought. Dr. Curtis sees ragtime as a step in the direction of an American culture which transcends racial lines and is shared by all Americans. She points out that this is a goal and ideal which has proved elusive and is worth pursuing by Americans today. By writing seriously about Scott Joplin and about ragtime, Dr Curtis's book may take a step in that direction.
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