ragtime

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ragtime:

see jazzjazz,
the most significant form of musical expression of African-American culture and arguably the most outstanding contribution the United States has made to the art of music. Origins of Jazz

Jazz developed in the latter part of the 19th cent.
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Ragtime

 

(1) A form of everyday dance music of urban American Negroes, which developed in the second half of the 19th century. A unique, sharply syncopated form of music, ragtime was a forerunner of jazz. Early examples of an artistic treatment of ragtime are encountered in A. Dvořák’s Symphony No. 9 (subtitled “From the New World”) and in his string quartet.

(2) An American salon and ballroom dance for couples, based on a rhythmic form of ragtime in 2/4 time. Ragtime came into fashion circa 1910. The two-step, the one-step, and the foxtrot are among the dances that developed from ragtime. I. F. Stravinsky used elements of this type of music in several works, including Ragtime (for 11 instruments) and the ballet pantomime The Soldier’s Tale.

ragtime

a style of jazz piano music, developed by Scott Joplin around 1900, having a two-four rhythm base and a syncopated melody
www.wikipedia.org/wiki/Ragtime
www.dropbears.com/r/ragtime
www.jazzinamerica.org
References in periodicals archive ?
In a five-CD collection (with an accompanying 120-page booklet) of 95 tunes, Williams traces the shifting sound of jazz from Scott Joplin's rag-time and Jelly Roll Morton and Louis Armstrong's New Orleans blues on through the big bands of Fletch Henderson, Gene Krupa, Count Basie, and the indescribable Duke Ellington.
This pictorial and written compilation of dance ranges from the old-style rotary waltz and rag-time to hip-hop and street dance, with all forms in between.
They played to their biggest audiences yet when American riverboat rag-time band, Pokey LaFarge and The South City Three invited them to open for them on their last big UK tour.
They exchanged banter with Sunderland's followers, enjoyed the Irish Guards Band's varied repertoire from rag-time to Wagner, held their heads in horror when Wallace missed his penalty, cheered their socks off when Barber headed home and finally returned to Birmingham jubilant, pausing only to sympathise with the party of Sunderland fans, dressed as clowns, whose motor-bus had broken down in Southwark.
He was playing full-time with gigs all over the British Isles by 1970 and building an excellent reputation for his fine singing voice and accomplished rag-time guitar style.
We do not want the public to think that we are a rag-time mob.