Ragtime: Classic Masterworks, or Salon Music?

A serious look at the genre of ragtime

Mar 23, 2009 Cheryl Metzger

Many musicians do not consider ragtime worthy concert music. These preconceptions are examined and discussed from a professional persepctive.

Most classical musicians scoff at the idea of categorizing ragtime as “serious” music. Many competitions prohibit ragtime as an acceptable repertoire choice. Ragtime is intrinsically classical in nature though, its chord progressions and form all following classical rules.

So why do classical musicians shy away from including ragtime in concerts or competitions? Are these musically universal views and rules about ragtime justified? Can ragtime really be considered just salon music?

The Genesis of Ragtime

Ragtime had its heyday in the early nineteenth century. Ragtime’s roots are in St. Louis and Sedalia, Missouri. William Kell’s Mississippi Rag was the first of its kind, published in 1897. Scott Joplin, who was to make rag famous, didn’t find a publisher for his Maple Leaf Rag until two years later. Ragtime is the precursor to jazz, which started becoming popular in the early 1900’s, when ragtime’s popularity began to fade.

Defining Rags and Ragtime

Rags are basically glorified dances: they are based on dances, such as the cakewalk or the two-step, but they aren’t meant for dancing, as there is too much rhythmic unpredictability. They are not meant to be played fast. Scott Joplin wrote “not fast” as a preface to all of his rags. Rag composer and performer Eubie Blake said that the appeal of ragtime is “rhythm, syncopation, and melody.”

Rhythm – the rhythm Eubie speaks of is what drives the piece forward. Rags typically just keep moving, using chromaticism (which gives that jazzy or rag sound) to keep it going. The rhythm is enhanced and driven by syncopation.
Syncopation –– syncopation is an effect achieved by having the rhythms dotted to make the piece “swing.” Here’s a short example from Scott Joplin’s Magnetic Rag. Accenting the off-beats of a piece is another way to achieve syncopation and it is this feature of the rag that gives it its rhythmic unpredictability.
Melody –– Finally, there is the melody. All rags have several melodies which are usually upbeat and typified by two of the previously mentioned characteristics of ragtime: chromaticism and syncopation.

Ragtime’s Musical Structure

The basic chord pattern of ragtime is I-IV-V. Each ragtime composer elaborates on these chords in different ways, but overall the chordal progression is simpler than other classical forms such as sonatas or ballades. The structure of ragtime resembles a rondo. There are usually three or four musical sections, A,B,C and D, and the latter three are followed by a reprise of the A section. Developmentally, ragtime doesn’t have too much going on.

The Intended Purpose of Ragtime

Besides form and structure, audience demographics might be a large reason that ragtime is not as highly regarded today as other classical music. Ragtime composers wrote foremost for an American audience, people not as musically cultured as Europeans, who already had a long history of listening to classical music. Ragtime was meant to be fun, entertaining music, and since people congregated in salons for this purpose, this is where ragtime was most prolifically heard.

Legitimate Performance Music?

Ragtime is less complex than Beethoven sonatas but then everyone isn’t always looking for a piece of Beethoven’s depth. The aim of ragtime is not the same aim that Beethoven had. Ragtime is supposed to surprise and delight with its off-beat melodies and appealing chords. It is not meant to be as serious or thought-provoking as a Beethoven sonata, a Chopin Scherzo or a Rachmaninoff Prelude. As a musical genre however it is still just as significant.

The copyright of the article Ragtime: Classic Masterworks, or Salon Music? in Classical Music is owned by Cheryl Metzger. Permission to republish Ragtime: Classic Masterworks, or Salon Music? in print or online must be granted by the author in writing.

Scott Joplin's star in St. Louis