a rhythm with a regular accompaniment in two-four time and a melody characterized by syncopation, first recognized in many negro melodies; also a style of American music in this rhythm.
A type of popular American music, usually for piano, that arose around 1900 and contributed to the emergence of jazz.
American musical style of great popularity at the turn of the 20th century, characterized by strongly syncopated (ragged) rhythms; the usual form is like that of the American march, involving two strains and a trio. The rags of Scott Joplin (e.g. Maple-Leaf Rag, CD 3 ) are considered the classics of the genre.
a style of American popular music, most often for piano, in which the syncopated melody conflicts with the steady duple meter
a style of American popular music that prospered from the late 19th century to World War I, in which an internally syncopated melodic line was set against a rhythmically straightforward bass in pieces called rags. Ragtime was mostly performed while reading written music; however, it was influential in the evolution of improvisation in early jazz. Ragtime was initially played on solo piano, then encompassed popular songs and later band and orchestral work.
music with a syncopated melody (usually for the piano)
A form of music, usually composed for the piano, that combines European harmonies with syncopated rhythms
A style of jazz with elaborately syncopated rhythm in the melody and a steadily accented accompaniment.
Late nineteenth century piano style created by African-Americans, characterized by highly syncopated melodies; also played in ensemble arrangements. Contributed to early jazz styles.
A non-improvised, notated late 19th-early 20th century style of piano-based music characterized by its syncopated, distinctive so-called "ragged" right hand movement on the keyboard; an influence on and direct precursor of early jazz; a piano style with stride left hand and highly syncopated right hand; ragtime was composed music.
Ragtime is a musical with a book by Terrence Mc Nally, lyrics by Lynn Ahrens, and music by Stephen Flaherty.