When “Ragtime” debuted on Broadway in 1997, the musical was overshadowed by blockbuster “The Lion King.” But in “Ragtime,” Lockhart sees a complex and compelling work of art that speaks to America’s past and present. ISBN 9781558491830.Corresponding with lyricist Lynn Ahrens about the Boston Pops production of “Ragtime: The Symphonic Concert,” conductor Keith Lockhart had a simple question: “How does it feel to look back at this and say, ‘Wow, we wrote a masterpiece’?” Signifyin(g), Sanctifyin', and Slam Dunking, p.62. Ragtime: A Musical and Cultural History, p.19–41. Son clave, a cross-rhythm of which stop-time is a simplification.The strong accent or down beat is never lost, but is playfully bandied from hand to foot and from foot to hand. It should be understood that the foot is not marking straight time, but what Negroes call 'stop time', or what the books have no better definition for than 'syncopation'. In this music the fundamental beat chiefly maintained by the patting of one foot, while the hands clap out intricate and varying rhythmic patterns. In Signifyin(g), Sanctifyin', and Slam Dunking, Gena Dagel Caponi writes: Allusions to the stop-time chorus of "Cornet Chop Suey" occurs in "Oriental Strut" and "Potato Head Blues." Thomas Brothers cites Armstrong's exposure to the tap-dancing of Bubbles, who improvised dance steps during stop-time choruses, at the Sunset Café as further inspiration for stop-time choruses in his repertoire. In his copyright submission for "Cornet Chop Suey," Louis Armstrong includes a written stop-time chorus. Do not raise the toe from the floor while stamping." The sheet music for Joplin's "Ragtime Dance" contains the direction, "Notice: to get the desired effect of 'stop time', that the pianist will please stamp the heel of one foot heavily upon the floor at the word 'stamp'. Stop-time in Joplin's rags is characterized by directions in the music for performers to stomp their foot to the beat. Joplin's "Stoptime Rag" (1910) employs stop-time throughout it even lacks his characteristic four-bar introduction. Such stop-time moments are sometimes repeated, creating an illusion of starting and stopping, as, for example, in Scott Joplin's " The Ragtime Dance" and Jelly Roll Morton's " King Porter Stomp"." Floyd Jr., "a musical device in which the forward flow of the music stops, or seems to stop, suspended in a rhythmic unison, while in some cases an improvising instrumentalist or singer continues solo with the forward flow of the meter and tempo. Stop-time is common in African-American popular music including R&B, soul music, and led to the development of the break in hip hop. Stop-timing may create the impression that the tempo has changed, though it has not, as the soloist continues without accompaniment. The characteristics of stop-time are heavy accents, frequent rests, and a stereotyped cadential pattern. Stop-time occasionally appears in ragtime music. In tap dancing, jazz, and blues, stop-time is an accompaniment pattern interrupting, or stopping, the normal time and featuring regular accented attacks on the first beat of each or every other measure, alternating with silence or instrumental solos. Stop-time in Dan Emmett's "Aunt Dinah's Wedding Dance" (1895) Play ( help
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