![]() ![]() ![]() (B) To acknowledge and counter significant adverse criticisms of ragtime music …out of scope (A) To contrast ragtime music and jazz …only part of the passage mention about jazz, so contrasting ragtime to jazz isn’t its main purpose Which of the following best describes the main purpose of the passage? Introduction to a music form Ragtime and using lots of composer as an example to emphasize its relation to folk musicĭebate about Ragtime’s structure, clarify that Ragtime isn’t mechanical and explain what Ragtime’s structure really isĬontinue talking about Ragtime’s structure and style(theme), and compare it to jazzįurther emphasize and explain why the Ragtime distinct from jazz in proving that ragtime is more akin to folk music of the nineteenth century as the ending of the paragraphġ. (E) A painting whose abstract shapes evoke familiar objects in a natural landscape (D) A ballet whose disciplined choreography is based on folk-dance steps (C) A dramatic production in which actor~ invent scenes and improvise lines (B) An experimental novel based on well-known cartoon characters (A) Symphonic music derived from complex jazz motifs Which of the following is most nearly analogous in source and artistic character to a ragtime composition as described in the passage? ![]() In this sense ragtime is more akin to folk music of the nineteenth century than to jazz.ħ. It exists as a tradition, a set of conventions, a body of written scores, separate from the individual players associated with it. As a genre, ragtime requires strict attention to structure, not inventiveness or virtuosity. Ragtime style stresses a pattern of repeated rhythms, not the constant inventions and variations of jazz. Ragtime remains distinct from jazz both as an instrumental style and as a genre. Tension in ragtime compositions arises from a polarity between two basic ingredients: a continuous bass - called by jazz musicians a boom-chick bass - in the pianist's left hand, and its melodic, syncopated counterpart in the right hand. Not concerned with development of musical themes, the ragtime composer instead sets a theme down intact, in finished form, and links it to various related themes. Therefore, themes must be brief with clear, sharp melodic figures. Typically, each strain is divided into two 8-bar segments that are essentially alike, so the rhythmic-melodic unit of ragtime is only eight bars of 2/4 measure. The aim of the structure is to rise from one theme to another in a stair-step manner, ending on a note of triumph or exhilaration. The rag opens with a bright, memorable strain or theme, followed by a similar theme, leading to a trio of marked lyrical character, with the structure concluded by a lyrical strain that parallels the rhythmic developments of the earlier themes. The classic formula for the piano rag disposes three to five themes in sixteen-bar strains, often organized with repeats. It arises from ragtime's following a well-defined form and obeying simple rules within that form. Ragtime's is not a mechanical precision, and it is not precision limited to the style of performance. For instance, Wilfred Mellers comments, "rags 'were transferred to the pianola roll and, even if not played by a machine, should be played like a machine, with meticulous precision." However, there is no reason to assume that ragtime is inherently mechanical simply because commercial manufacturers applied a mechanical recording method to ragtime, the only way to record pianos at that date. It has sometimes been charged that ragtime is mechanical. Composers like Scott Joplin and James Scott were in a sense collectors or musicologists, collecting dance and folk music in Black communities and consciously shaping it into brief suites or anthologies called piano rags. A strong analogy exists between European composers like Ralph Vaughan Williams, Edvard Grieg, and Anton Dvorak who combined folk tunes and their own original materials in larger compositions and the pioneer ragtime composers in the United States. Ragtime is a musical form that synthesizes folk melodies and musical techniques into a brief quadrille-like structure, designed to be played-exactly as Line written-on the piano. ![]()
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