Part 2: Joplin’s Theory and Composition Style

Joplin’s music was characterized by syncopation, structured form, and classical influences.

He firmly believed that ragtime was not just a popular dance genre but a serious art form deserving of the same respect as European classical music (Schuller 172). Unlike many ragtime composers, Joplin emphasized refinement, complexity, and emotional depth in his compositions.

His pieces typically followed the "ragtime march" form, which consisted of repeated 16-measure strains in an AABBACCDD pattern (Berlin 112). This structure created a balance between repetition and variation, making his rags both memorable and engaging. Additionally, his use of chromaticism, secondary dominants, and modulations set his works apart from simpler ragtime compositions (Blesh and Janis 121).

Joplin also wrote extensively about how ragtime should be performed, instructing musicians to play his pieces slowly and with delicacy to preserve their intended character (Jasen and Tichenor 205). His most ambitious project, the opera Treemonisha, combined ragtime rhythms with grand operatic themes, featuring a storyline centered on education, empowerment, and social progress (Berlin 143). Though it was not successful in his lifetime, modern scholars regard it as a groundbreaking work that bridged the gap between African American folk traditions and classical opera (Schuller 185).

Exploring Scott Joplin's compositional style and influence is not only a journey through the history of music but also a celebration of creativity, innovation, and cultural expression. His music serves as a testament to the power of art to transcend boundaries and resonate across generations. As we delve into Joplin's musical world, we not only pay homage to a musical pioneer but also gain a deeper appreciation for the rich tapestry of American music history.