Despite years of neglect and dilapidation, the home Joplin rented during this period was recognized as a National Historic Landmark in 1976 and was subsequently saved from destruction by the local African American community. Louis, Missouri, to pursue his composing career. In 1901, musician Scott Joplin, the “King of Ragtime,” moved to St. De este complejo escenario se desprenden las experiencias vitales que hicieron parte de las cuatro vertientes fundamentales que constituyen las músicas afronorteamericanas y vernaculares en la Norteamérica negra el góspel o música religiosa, el blues, el jazz y el pop negro o R&B además de las extensiones de esta última tendencia. Como sabemos gracias a un elevado número de documentación historiográfica (Berlin, 1995 Burim y Maultsby, 2006 Caldwell, 2011 Epstein, 1975 Floyd, et al., 2017 Ford, 1971 Herskovits, 1941 Kubik, 1999 Reed, 1992 Walser, 1995), las músicas afronorteamericanas tuvieron como telón de fondo para su gestación la experiencia aborrecible de la esclavización moderna en el seno de su gestación. El resultado de la evolución de los estilos musicales propuesto en el estudio de caso, revela que el proceso de la recombinación (cross-over) figura como un mecanismo en el cual desde los progenitores el inicial blues rural, el posterior blues urbano, y el resultante rock and roll dan forma a una mutación posterior mediante un posible apareamiento entre estas músicas, y presenta como resultado una serie de estilos creativos e innovadores denominados en última instancia, como música rock. This book recreates the excitement of these pioneers, who dreamed of greatness as they sought to expand the limits society placed upon their race. 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.

The author paints a vivid picture of the ragtime years, placing Scott Joplin's story in its historical context. He 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. He shows how Joplin's opera Treemonisha was a tribute to the woman he loved, a woman other biographers never even mentioned. His biography truly documents the story of the composer, replacing the myths and unsupported anecdotes of previous histories.

Using the tools of a trained musicologist, he has uncovered a vast amount of new information about Joplin. In this book, the author redefines the Scott Joplin biography. His opera Treemonisha was performed both in opera houses and on Broadway. Never before had any composer's music been so acclaimed by both the popular and classical music worlds. 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.

In 1974, the academy award-winning film The Sting brought back the music of Scott Joplin, a black ragtime composer who died in 1917.

Who was the king of ragtime