Tacet From Wikipedia, the free encyclopedia Look up tacet in Wiktionary, the free dictionary. Tacet is Latin for "it is silent". It is a musical term to indicate that an instrument or voice does not sound. In vocal polyphony and in orchestral scores, it usually indicates a long period of time, typically an entire movement. In more modern music such as jazz, tacet tends to mark considerably shorter breaks. How a tacet appears on sheet music It was common for early symphonies to leave out the brass or percussion in certain movements, especially in slow (second) movements, and this is the instruction given in the parts for the player to wait until the end of the movement. It is also commonly used in accompaniment music to indicate that the instrument does not play on a certain run through a portion of the music, i.e., "Tacet 1st time." A unique usage of this term is in John Cage's 1952 composition 4′33″. A tacet is indicated for all three movements, for all instruments. The piece lasts a total of 4 minutes and 33 seconds, without a note being played.

'Pataphysics (French: 'pataphysique) is a philosophy or media theory dedicated to studying what lies beyond the realm of metaphysics. The concept was coined by French writer Alfred Jarry (1873–1907), who defined 'pataphysics as "the science of imaginary solutions, which symbolically attributes the properties of objects, described by their virtuality, to their lineaments".[1] A practitioner of 'pataphysics is a pataphysician or a pataphysicist. Contents [hide] 1 Definitions 2 Etymology 3 History 3.1 The Collège de 'Pataphysique 3.1.1 Offshoots of the Collège de 'Pataphysique 3.2 London Institute of 'Pataphysics 4 Concepts 5 Pataphysical calendar 6 Influences 6.1 In literature 6.2 In music 6.3 In visual art 7 Pataphor 8 See also 9 References 9.1 Bibliography 10 External links Definitions[edit] There are over one hundred differing definitions of pataphysics.[2] Some examples are shown below. "Pataphysics is the science of that which is superinduced upon metaphysics, whether within or beyond the latter’s limitations, extending as far beyond metaphysics as the latter extends beyond physics. … Pataphysics will be, above all, the science of the particular, despite the common opinion that the only science is that of the general. Pataphysics will examine the laws governing exceptions, and will explain the universe supplementary to this one.”[1] "'Pataphysics is patient; 'Pataphysics is benign; 'Pataphysics envies nothing, is never distracted, never puffed up, it has neither aspirations nor seeks not its own, it is even-tempered, and thinks not evil; it mocks not iniquity: it is enraptured with scientific truth; it supports everything, believes everything, has faith in everything and upholds everything that is.”[3] as cited in[2] "Pataphysics passes easily from one state of apparent definition to another. Thus it can present itself under the aspect of a gas, a liquid or a solid.”[4] as cited in[2] "Pataphysics "the science of the particular", does not, therefore, study the rules governing the general recurrence of a periodic incident (the expected case) so much as study the games governing the special occurrence of a sporadic accident (the excepted case). … Jarry performs humorously on behalf of literature what Nietzsche performs seriously on behalf of philosophy. Both thinkers in effect attempt to dream up a “gay science”, whose joie de vivre thrives wherever the tyranny of truth has increased our esteem for the lie and wherever the tyranny of reason has increased our esteem for the mad.”[5] Etymology[edit] The word pataphysics is a contracted formation, derived from the Greek, ἔπι (μετὰ τὰ φυσικά) (epi meta ta physika);[1] this phrase or expression means "that which is above metaphysics", and is itself a sly variation on the title of Aristotle's Metaphysics, which in Greek is "τὰ μετὰ τὰ φυσικά" (ta meta ta physika). Jarry mandated the inclusion of the apostrophe in the orthography, 'pataphysique and 'pataphysics, "to avoid a simple pun".[1] The words pataphysician or pataphysicist and the adjective pataphysical should not include the apostrophe. Only when consciously referring to Jarry's science itself should the word pataphysics carry the apostrophe.[6] The term pataphysics is a paronym (considered a kind of pun in French) of metaphysics. Since the apostrophe in no way affects the meaning or pronunciation of pataphysics, this spelling of the term is a sly notation, to the reader, suggesting a variety of puns that listeners may hear, or be aware of. These puns include patte à physique ("physics paw"), as interpreted by Jarry scholars Keith Beaumont and Roger Shattuck, pas ta physique ("not your physics"), and pâte à physique ("physics pastry dough"). History[edit] The term first appeared in print in the text of Alfred Jarry's play Guignol in the 28 April 1893 issue of L'Écho de Paris littéraire illustré, but it has been suggested that the word has its origins in the same schoolpranks at the lycée in Rennes that led Jarry to write Ubu Roi.[7] Jarry considered Ibicrates and Sophrotatos the Armenian as the fathers of this "science".[8] The Collège de 'Pataphysique[edit] The Collège de 'Pataphysique, founded in 1948 in Paris, France,[9] is a "society committed to learned and inutilious research".[10] (The word 'inutilious' is synonymous with 'useless'.) The motto of the college is Latin: Eadem mutata resurgo ("I arise again the same though changed"), and its current Vice-Curator is Her Magnificence Lutembi - a crocodile.[11] The permanent head of the college is the fictional Dr. Faustroll (Inamovable Curator), with assistance of the equally fictional Bosse-de-Nage (Starosta).[12] The Vice-Curator is as such the "first and most senior living entity" in the college's hierarchy.[13] Publications of the college, generally called Latin: Viridis Candela ("green candle"),[14] include the Cahiers, Dossiers and the Subsidia Pataphysica.[15][16] The college stopped its public activities between 1975 and 2000, referred to as its occultation.[17][18] Notable members have included Noël Arnaud, Luc Étienne, Latis, François Le Lionnais, Jean Lescure, Raymond Queneau, Boris Vian, Eugène Ionesco, Jacques Carelman, Joan Miró, Man Ray, Max Ernst, Julien Torma, Roger Shattuck, Groucho, Chico and Harpo Marx, Baron Jean Mollet, Irénée Louis Sandomir, Opach and Marcel Duchamp.[19] The Oulipo began as a subcommittee of the college.[20][21] Offshoots of the Collège de 'Pataphysique[edit] Although France had been always the centre of the pataphysical globe, there are followers up in different cities around the world. In 1966 Juan Esteban Fassio was commissioned to draw the map of the Collège de 'Pataphysique and its institutes abroad. In the 1950s, Buenos Aires in the Western Hemisphere and Milan in Europe were the first cities to have pataphysical institutes. London, Edinburgh, Budapest, and Liège, as well as many other European cities, caught up in the sixties. In the 1970s, when the Collège de 'Pataphysique occulted, Germany, Sweden, Switzerland, Canada, The Netherlands, and many other countries showed that the internationalization of pataphysics was irreversible. During the Communist Era, a small group of pataphysicists in Czechoslovakia started a journal called PAKO, or Pataphysical Collegium.[22] Alfred Jarry's plays had a lasting impression on the country's underground philosophical scene. A Pataphysics Institute opened in Vilnius, Lithuania in May 2013: Patafizikos instituto atidarymas Vilniuje. London Institute of 'Pataphysics[edit] The London Institute of 'Pataphysics was established in September 2000 to promote pataphysics in the English-speaking world. The institute has various publications, including a journal and has six departments:[23] Bureau for the Investigation of Subliminal Images Committee for Hirsutism and Pogonotrophy Department of Dogma and Theory Department of Potassons Department of Reconstructive Archaeology The Office of Patentry The institute also contains a pataphysical museum and archive and organised the Anthony Hancock Paintings and Sculptures exhibition in 2002.[24] Concepts[edit] Clinamen A clinamen is the unpredictable swerve of atoms that Bök calls “the smallest possible aberration that can make the greatest possible difference”.[25] An example is Jarry’s merdre, a swerve of French: merde ("shit").[26] The Grand Gidouille on Ubu's belly is a symbol of pataphysics Antinomy An antinomy is the mutually incompatible. It represents the duality of things, the echo or symmetry, the good and the evil at the same time. Hugill mentions various examples including the plus minus, the faust-troll, the haldern-ablou, the yes-but, the ha-ha and the paradox.[27] Syzygy The syzygy originally comes from astronomy and denotes the alignment of three celestial bodies in a straight line. In a pataphysical context it is the pun. It usually describes a conjunction of things, something unexpected and surprising. Serendipity is a simple chance encounter but the syzygy has a more scientific purpose. Bök mentions Jarry suggesting that the fall of a body towards a centre might not be preferable to the ascension of a vacuum towards a periphery.[28][29] Absolute The absolute is the idea of a transcended reality.[30] Anomaly An anomaly represents the exception. Jarry said that "pataphysics will examine the laws governing exceptions, and will explain the universe supplementary to this one".[1] Bök calls it “the repressed part of a rule which ensures that the rule does not work”.[31][32] Pataphor A pataphor is an unusually extended metaphor based on 'pataphysics. As Jarry claimed that pataphysics exists "as far from metaphysics as metaphysics extends from regular reality", a pataphor attempts to create a figure of speech that exists as far from metaphor as metaphor exists from non-figurative language.[33] Pataphysical calendar[edit] The pataphysical calendar[34] is a variation of the Gregorian calendar. The Collège de 'Pataphysique created the calendar[35] in 1949.[36] The pataphysical era (E.P.) started on 8 September 1873 (Jarry's birthday). When converting pataphysical dates to Gregorian dates, the appendage (vulg.) for vulgate is added.[36] The week starts on a Sunday. Every 1st, 8th, 15th and 22nd is a Sunday and every 13th day of a month falls on a Friday (see Friday the 13th). Each day is assigned a specific name or saint. For example, the 27 Haha (1 November vulg.) is called French: Occultation d'Alfred Jarry or the 14 Sable (14 December vulg.) is the day of French: Don Quichote, champion du monde.[37] The year has a total of 13 months each with 29 days. The 29th day of each month is imaginary with two exceptions:[37] the 29 Gidouille (13 July vulg.) is always non-imaginary the 29 Gueules (23 February vulg.) is non-imaginary during leap years The table below shows the names and order of months in a pataphysical year with their corresponding Gregorian dates and approximate translations or meanings by Hugill.[36] Pataphysical year Month Starts Ends Translation Absolu 8 September 5 October Absolute Haha 6 October 2 November Ha Ha As 3 November 30 November Skiff Sable 1 December 28 December Sand or heraldic black Décervelage 29 December 25 January Debraining Gueules 26 January 22/23 February Heraldic red or gob Pédale 23/24 February 22 March Bicycle pedal Clinamen 23 March 19 April Swerve Palotin 20 April 17 May Ubu's henchmen Merdre 18 May 14 June Pshit Gidouille 15 June 13 July Spiral Tatane 14 July 10 August Shoe or being worn out Phalle 11 August 7 September Phallus For example: 8 September 1873 (vulg.) = 1 Absolu 1 1 January 2000 (vulg.) = 4 Décervelage 127 10 November 2012 (vulg.)(Saturday) = 8 As 140 (Sunday) See also Bob Richmond's comments on the calendar and the French Wikipedia article. Influences[edit] In the 1960s 'pataphysics was used as a conceptual principle within various fine art forms, especially pop art and popular culture. Works within the pataphysical tradition tend to focus on the processes of their creation, and elements of chance or arbitrary choices are frequently key in those processes. Select pieces from the artist Marcel Duchamp[38] and the composer John Cage[39] characterize this. At around this time, Asger Jorn, a pataphysician and member of the Situationist International, referred to 'pataphysics as a new religion.[40] Rube Goldberg and Heath Robinson were artists who contrived machines of a pataphysical bent. In literature[edit] The authors Raymond Queneau, Jean Genet, Eugène Ionesco, Boris Vian, Rene Daumal and Jean Ferry have described themselves as following the pataphysical tradition. 'Pataphysics and pataphysicians feature prominently in several linked works by science fiction writer Pat Murphy. The philosopher Jean Baudrillard is often described as a pataphysician and identified as such for some part of his life.[41] American writer Pablo Lopez has developed an extension of 'pataphysics called the pataphor. In music[edit] The debut album by Ron 'Pate's Debonairs, featuring Reverend Fred Lane (his first appearance on vinyl), is titled Raudelunas 'Pataphysical Revue (1977), a live theatrical performance. A review in The Wire magazine said, "No other record has ever come as close to realising Alfred Jarry's desire 'to make the soul monstrous' – or even had the vision or invention to try".[42] 'Pate (note the 'pataphysical apostrophe) and Lane were central members in the Raudelunas art collective in Tuscaloosa, Alabama. Professor Andrew Hugill, of De Montfort University, is a practitioner of pataphysical music. He curated Pataphysics, for the Sonic Arts Network's CD series,[43] and in 2007 some of his own music was issued by UHRecordings under the title Pataphysical Piano; the sounds and silences of Andrew Hugill.[44] British progressive rock band Soft Machine were self described at "the Official Orchestra of the College of Pataphysics", and featured the two songs "Pataphysical Introduction" parts I and II on their 1969 album Volume Two. Japanese psychedelic rock band Acid Mothers Temple refer to the topic on their 1999 release Pataphisical Freak Out MU!!. Autolux, LA based noise pop band, have a song "Science Of Imaginary Solutions" in their second album Transit Transit. "'Pataphysical science" is mentioned as a course of study for Maxwell Edison's first victim, "Joan", in the song "Maxwell's Silver Hammer" on the Beatles album, Abbey Road. In visual art[edit] American artist Thomas Chimes developed an interest in Jarry's pataphysics, which became a lifelong passion, inspiring much of the painter's creative work. The League of Imaginary Scientists, a Los Angeles-based art collective specializing in pataphysics-based interactive experiments. In 2011 they exhibited a series of projects at Museum of Contemporary Art, Los Angeles. James E. Brewton, Philadelphia artist (1930-1967), with interest in Jarry & pataphysics [1] Slought, arts organization for cultural and socio-political change in Philadelphia, the world, and the cloud, with programs on Jarry and pataphysics [2][3][4] Pataphor[edit] The pataphor (Spanish: patáfora, French: pataphore), is a term coined by writer and musician Pablo Lopez, for an unusually extended metaphor based on Alfred Jarry's "science" of pataphysics. As Jarry claimed that pataphysics existed "as far from metaphysics as metaphysics extends from regular reality", a pataphor attempts to create a figure of speech that exists as far from metaphor as metaphor exists from non-figurative language. Whereas a metaphor is the comparison of a real object or event with a seemingly unrelated subject in order to emphasize the similarities between the two, the pataphor uses the newly created metaphorical similarity as a reality on which to base itself. In going beyond mere ornamentation of the original idea, the pataphor seeks to describe a new and separate world, in which an idea or aspect has taken on a life of its own.[45][46] Like pataphysics itself, pataphors essentially describe two degrees of separation from reality (rather than merely one degree of separation, which is the world of metaphors and metaphysics). The pataphor may also be said to function as a critical tool, describing the world of "assumptions based on assumptions", such as belief systems or rhetoric run amok. The following is an example. "Non-figurative: Tom and Alice stood side by side in the lunch line. Metaphor Tom and Alice stood side by side in the lunch line; two pieces positioned on a chessboard. Pataphor Tom took a step closer to Alice and made a date for Friday night, checkmating. Rudy was furious at losing to Margaret so easily and dumped the board on the rose-colored quilt, stomping downstairs."[47] Thus, the pataphor has created a world where the chessboard exists, including the characters who live in that world, entirely abandoning the original context.[47] The pataphor has been subject to commercial interpretations,[48] usage in speculative computer applications,[49] applied to highly imaginative problem solving methods[50] and even politics on the international level[51] or theatre The Firesign Theatre (a comedy troupe whose jokes often rely on pataphors). There is a band called Pataphor[52] and an interactive fiction in the Interactive Fiction Database called "PataNoir," based on pataphors.[53][54] Pataphors have been the subject of art exhibits, as in Tara Strickstein's 2010 "Pataphor" exhibit at Next Art Fair/Art Chicago.[55] There is also a book of pataphorical art called Pataphor by Dutch artist Hidde von Schie.[56] It is worth noting that a pataphor is not the traditional metaphorical conceit but rather a set of metaphors built upon an initial metaphor, obscuring its own origin rather than reiterating the same analogy in myriad ways. See also[edit] Absurdism Atlas Press Dada Non-philosophy Ouxpo Pseudoscience References[edit] ^ Jump up to: a b c d e Jarry 1996, p.21. ^ Jump up to: a b c Brotchie et al. 2003 Jump up ^ “Épanorthose sur le Clinamen moral”, Cahiers du Collège de ‘Pataphysique, 21, 22 Sable 83 (29 December 1955 vulg.) Jump up ^ Patafluens 2001, Istituto Patafisico Vitellianese, Viadana, 2002 Jump up ^ Bök 2002, p.9. Jump up ^ Hugill 2012, p.8. Jump up ^ Hugill 2012, p.207. Jump up ^ Hugill 2012, p.20. Jump up ^ Brotchie 1995, p.11. Jump up ^ Brotchie 1995, p.77. Jump up ^ Hugill 2012, p.38. Jump up ^ Brotchie 1995, p.39. Jump up ^ Hugill 2012, p.113. Jump up ^ Hugill 2012, p.123. Jump up ^ List of publications by the Collège de 'Pataphysique Jump up ^ Brotchie 1995, p.102-104. Jump up ^ Hugill 2012, p.39. Jump up ^ Brotchie 1995, p.31. Jump up ^ Brotchie 1995, p.10-31. Jump up ^ Motte, Warren (2007). Oulipo: a primer of potential literature. Dalkey Archive Press. p. 1. ISBN 1-56478-187-9. Jump up ^ Brotchie 1995, p.22. Jump up ^ Hugill 2012, p.48. Jump up ^ Webpage of the London Institute of 'Pataphysics Jump up ^ Anthony Hancock Paintings and Sculptures exhibition Jump up ^ Bök 2002, p.43-45. Jump up ^ Hugill 2012, p.15-16. Jump up ^ Hugill 2012, p.9-12. Jump up ^ Bök 2002, p.40-43. Jump up ^ Hugill 2012, p.13-15. Jump up ^ Hugill 2012, p.16-19. Jump up ^ Bök 2002, p.38-40. Jump up ^ Hugill 2012, p.12-13. Jump up ^ "Paul Avion's Pataphor" Jump up ^ (French) Electronic version of the pataphysical calendar Jump up ^ (French) Reference number 1230, published 1954, as listed in the college's catalogue ^ Jump up to: a b c Hugill 2012, p.21-22. ^ Jump up to: a b Brotchie 1995, p.45-54. Jump up ^ Hugill 2012, p.55. Jump up ^ Hugill 2012, p.51-52. Jump up ^ Asger Jorn's "Pataphysics: A Religion in the Making" Jump up ^ The Jean Baudrillard Reader. Redhead, Steve, Columbia University Press, 2008, pp. 6–7. 1 March 2008. ISBN 978-0-231-14613-5. Retrieved 6 June 2009. Jump up ^ Baxter, Ed (September 1998). "100 Records That Set The World On Fire . . . While No One Was Listening". The Wire. pp. 35–36. Jump up ^ "Music". Andrew Hugill. Retrieved 2014-01-16. Jump up ^ "Pataphysical Piano – The sounds and silences of Andrew Hugill by various artists". Uhrecordings.co.uk. Retrieved 2014-01-16. Jump up ^ (Spanish) Luis Casado, Pataphors And Political Language, El Clarin: Chilean Press, 2007 Jump up ^ The Cahiers du Collège de 'Pataphysique, n°22 (December 2005), Collège de 'Pataphysique ^ Jump up to: a b "Pataphor / Pataphors : Official Site : closet 'pataphysics". Pataphor.com. Retrieved 2014-01-16. Jump up ^ "Coke… it’s the Real Thing « Not A Real Thing". Notarealthing.com. 2012-01-31. Retrieved 2014-01-16. Jump up ^ "i l I .P o s e d p hi l . o s o ph y". Illposed.com. 2006-02-23. Retrieved 2014-01-16. Jump up ^ Findlay, John (2010-07-03). "Wingwams: Playing with pataphors". Wingwams.blogspot.com. Retrieved 2014-01-16. Jump up ^ "El Clarí­n de Chile - Patafísica y patáforas". Elclarin.cl. Retrieved 2014-01-16. Jump up ^ "Pataphor". Pataphor.bandcamp.com. Retrieved 2014-01-16. Jump up ^ "PataNoir - Details". Ifdb.tads.org. Retrieved 2014-01-16. Jump up ^ "Parchment". Iplayif.com. Retrieved 2014-01-16. Jump up ^ ArtTalkGuest. "Tara Strickstein’s “Pataphor” at Next Art Fair/Art Chicago 2010 | Art Talk Chicago". Chicagonow.com. Retrieved 2014-01-16. Jump up ^ "Pataphor - Hidde van Schie". Tentrotterdam.nl. Retrieved 2014-01-16. Bibliography[edit] Jones, Andrew. Plunderphonics,Pataphysics & Pop Mechanics: An Introduction to Musique Actuelle. SAF Publishing Ltd, 1995. Beaumont, Keith (1984). Alfred Jarry: A Critical and Biographical Study. St. Martin's Press. ISBN 0-312-01712-X. Bök, Christian (2002). 'Pataphysics: The Poetics of an Imaginary Science. Northwestern University Press. ISBN 978-0-8101-1877-5. Brotchie, Alistair, ed. (1995). A True History of the College of ’Pataphysics. Atlas Press. ISBN 0-947757-78-3. Alistair Brotchie, Stanley Chapman, Thieri Foulc and Kevin Jackson, ed. (2003). 'Pataphysics: definitions and citations. London: Atlas Press. ISBN 1-900565-08-0. Brotchie, Alistair (2011). Alfred Jarry: A Pataphysical Life. MIT Press. ISBN 978-0-262-01619-3. Clements, Cal (2002). Pataphysica. iUnivers, Inc. ISBN 0-595-23604-9. Hugill, Andrew (2012). 'Pataphysics: A useless guide. MIT Press. ISBN 978-0-262-01779-4. Jarry, Alfred (1980). Gestes et opinions du Docteur Faustroll, pataphysicien (in French). France: Gallimard. ISBN 2-07-032198-3. Jarry, Alfred (1996). Exploits and opinions of Dr. Faustroll, pataphysician. Exact Change. ISBN 1-878972-07-3. Jarry, Alfred (2006). Collected works II - Three early novels. London: Atlas Press. ISBN 1-900565-36-6. Shattuck, Roger (1980). Roger Shattuck's Selected Works of Alfred Jarry. Grove Press. ISBN 0-8021-5167-1. Taylor, Michael R. (2007). Thomas Chimes Adventures in 'Pataphysics. Philadelphia Museum of Art. ISBN 978-0-87633-253-5. Vian, Boris (2006). Stanley Chapman, ed. 'Pataphysics? What's That?. London: Atlas Press. ISBN 1-900565-32-3. Morton, Donald. "Pataphysics of the Closet." Transformation: Marxist Boundary Work in Theory, Economics, *Politics and Culture (2001): 1-69. Powrie, Phil. "René Daumal and the pataphysics of liberation." Neophilologus 73.4 (1989): 532-540. External links[edit] (French) Collège de ’Pataphysique London Institute of 'Pataphysics Patakosmos, the complete ‘Pataphysics Institute map of the world (Italian) Autoclave di Estrazioni Patafisiche (Dutch) De Nederlandse Academie voor 'Patafysica (German) Institut für 'Pataphysik 'Marcel Duchamp and 'Pataphysics' Pataphysics by Jean Baudrillard (translated by Drew Burk) (Spanish) Alfred Jarry y el Collége de Pataphysique; la Ciencia de las soluciones imaginarias - Adolfo Vásquez Rocca[dead link] (Italian) Ubuland, information on Italian pataphysics. UbuWeb, resource of pataphysical, avant-garde, ethnopoetic and outsider arts. (French) Calendrier 'Pataphysique, Gregorian to 'Pataphysical calendar converter Categories: Fictional philosophies'PataphysicsSurrealism Navigation menu Create accountLog inArticleTalkReadEditView history Main page Contents Featured content Current events Random article Donate to Wikipedia Wikimedia Shop Interaction Help About Wikipedia Community portal Recent changes Contact page Tools What links here Related changes Upload file Special pages Permanent link Page information Wikidata item Cite this page Print/export Create a book Download as PDF Printable version Languages Català Deutsch Ελληνικά Español Français Galego Italiano Magyar Nederlands 日本語 Norsk bokmål Polski Português Русский Suomi Svenska Türkçe Edit links This page was last modified on 4 July 2014 at 19:14. Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. 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strange; queer; odd: peculiar happenings. 2. uncommon; unusual: the peculiar hobby of stuffing and mounting bats. 3. distinctive in nature or character from others. 4. belonging characteristically (usually followed by to ): an expression peculiar to Canadians. 5. belonging exclusively to some person, group, or thing: the peculiar properties of a drug.

Henry Threadgill (born February 15, 1944, in Chicago, Illinois) is an American composer, saxophonist and flautist,[1] who came to prominence in the 1970s leading ensembles with unusual instrumentation and often incorporating a range of non-jazz genres. He studied at the American Conservatory of Music in Chicago co-majoring in piano and flute, along with composition. He studied piano with Gail Quillman and composition with Stella Roberts. He has had a music career for over forty years as both a leader and as a composer. Threadgill's music has been performed by many of his long-lasting instrumental ensembles, including the trio Air with Fred Hopkins and Steve McCall, the seven-piece Sextet, Very Very Circus, the twenty-piece Society Situation Dance Band, X-75, Make a Move, Aggregation Orb, and his current group Zooid. He has recorded many critically acclaimed albums as a leader of these ensembles with various record labels namely Arista/Novus, About Time, Axiom, Black Saint, Columbia and Pi Recordings. Threadgill has had numerous commissions and awards throughout. He has composed music for theatre, orchestra, solo instruments, and chamber ensembles. His works for large orchestras, such as "Run Silent, Run Deep, Run Loud, Run High" (conducted by Hale Smith) and "Mix for Orchestra" (conducted by Dennis Russell Davies), were both premiered at the Brooklyn Academy of Music in 1987 and 1993 respectively. He has had commissions from Mordine & Company in 1971 and 1989, from Carnegie Hall for "Quintet for Strings and Woodwinds" in 1983 and 1985, the New York Shakespeare Festival in 1985, Bang on a Can All-Stars in 1995, "Peroxide" commissioned by the Miller Theatre Columbia University in 2003 for "Aggregation Orb", a commission from the Talujon Percussion Ensemble in 2008, a piece "Fly Fliegen Volar" commissioned and premiered at the Saalfelden Jazz Festival with the Junge Philharmonie Salzburg Orchestra in 2007, a premier of the piece "Mc Guffins" with Zooid at the Biennale Festival in Italy in 2004 to name some. Threadgill, aside from being a remarkable alto saxophone player, is one of the most imaginative of jazz composers today. "He seems to be deliberately challenging the audience: My lyricism and mastery come complete with thorns and spikes, and I promise to yank the props out from under you,” quoted John Litweiler, longtime Down Beat jazz critic, in an article he wrote for the Chicago Sun-Times. Threadgill was one of the founding members of the Association for the Advancement of Creative Musicians (AACM), a Chicago group that was free-form, you might say, in its philosophy and approach. Peter Watrous of the New York Times described Threadgill as "perhaps the most important jazz composer of his generation." Recent concerts in Chicago have led the local critics to speak of him as a revolutionary figure, altering the manner in which jazz itself is going. Said Howard Reich, jazz critic of the Chicago Tribune, "It would be difficult to overestimate Henry Threadgill's role in perpetually altering the meaning of jazz..…He has changed our underlying assumptions of what jazz can and should be." – An excerpt from a chapter on Henry Threadgill in And They All Sang (2005) by Pulitzer-winning author and disc jockey Studs Terkel, a book about "forty of the greatest and most deeply human musical figures of our time". Scott Joplin For the biographical film, see Scott Joplin (film). Scott Joplin Scott Joplin 19072.jpg Scott Joplin in June 1903. This picture also appears on the cover of The Cascades from 1904.[1] Background information Birth name Scott Joplin Also known as King of Ragtime Writers Born c. late 1867 or early 1868 Northeast Texas, U.S. Origin Texarkana, Texas Died April 1, 1917 (aged 49) New York City, New York, U.S. Genres Ragtime, march, waltz Occupations Composer, pianist, music teacher Instruments Piano, cornet, guitar, mandolin, violin, banjo, vocals Years active 1895–1917 The signature of Scott Joplin. Scott Joplin (/ˈdʒɑːplɪn/; c. 1867/1868 – April 1, 1917) was an African-American composer and pianist. Joplin achieved fame for his ragtime compositions, and was later titled The King of Ragtime. During his brief career, he wrote 44 original ragtime pieces, one ragtime ballet, and two operas. One of his first pieces, the Maple Leaf Rag, became ragtime's first and most influential hit, and has been recognized as the archetypal rag.[2] Joplin was born into a musical family of laborers in Northeast Texas, and developed his musical knowledge with the help of local teachers. Joplin grew up in Texarkana, where he formed a vocal quartet, and taught mandolin and guitar. During the late 1880s he left his job as a laborer with the railroad, and travelled around the American South as an itinerant musician. He went to Chicago for the World's Fair of 1893, which played a major part in making ragtime a national craze by 1897. Joplin moved to Sedalia, Missouri, in 1894 and earned a living as a piano teacher. There he taught future ragtime composers Arthur Marshall, Scott Hayden and Brun Campbell. Joplin began publishing music in 1895, and publication of his Maple Leaf Rag in 1899 brought him fame. This piece had a profound influence on subsequent writers of ragtime. It also brought the composer a steady income for life, though Joplin did not reach this level of success again and frequently had financial problems. Joplin moved to St. Louis in 1901, where he continued to compose and publish music, and regularly performed in the St Louis community. The score to his first opera A Guest of Honor was confiscated in 1903 with his belongings because of a non-payment of bills, and is now considered lost.[3] He continued to compose and publish music, and in 1907 moved to New York City to find a producer for a new opera. He attempted to go beyond the limitations of the musical form that made him famous, without much monetary success. His second opera, Treemonisha, was not received well at its partially staged performance in 1915. In 1916 Joplin descended into dementia as a result of an earlier contraction of syphilis. He was admitted to a mental institution in January 1917, and died there three months later at the age of 49. Joplin's death is widely considered to mark the end of ragtime as a mainstream music format, and in the next several years it evolved with other styles into jazz, and eventually big band swing. His music was rediscovered and returned to popularity in the early 1970s with the release of a million-selling album recorded by Joshua Rifkin. This was followed by the Academy Award–winning movie The Sting that featured several of his compositions including The Entertainer. The opera Treemonisha was finally produced in full to wide acclaim in 1972. In 1976, Joplin was posthumously awarded a Pulitzer Prize. Contents [hide] 1 Early life 2 Life in the Southern states and Chicago 3 Life in Missouri 4 Later years 5 Death 6 Works 6.1 Treemonisha 6.2 Performance skills 7 Legacy 8 Revival 9 Other awards and recognition 10 See also 11 Notes 12 References 12.1 Bibliography 13 External links 13.1 Recordings and sheet music Early life[edit] Joplin was born in Linden, Texas, either in late 1867 or early 1868. Although for many years his birth date was accepted as November 24, 1868, research has revealed that this is almost certainly inaccurate – the most likely approximate date being the second half of 1867.[4] He was the second of six children (the others being Monroe, Robert, William, Myrtle, and Ossie)[5] born to Giles Joplin, an ex-slave from North Carolina, and Florence Givens, a freeborn African-American woman from Kentucky.[6][7][8] The Joplins subsequently moved to Texarkana where Giles worked as a laborer for the railroad while Florence was a cleaner. Joplin's father had played the violin for plantation parties in North Carolina, and his mother sang and played the banjo.[5] Joplin was given a rudimentary musical education by his family and from the age of seven he was allowed to play the piano while his mother cleaned.[9] At some point in the early 1880s, Giles Joplin left the family for another woman, leaving Florence to provide for her children through domestic work. Biographer Susan Curtis speculated that his mother's support of Joplin's musical education was an important causal factor in this separation. His father argued that it took the boy away from practical employment that would supplement the family income.[10] According to a family friend, the young Joplin was serious and ambitious, studying music and playing the piano after school. While a few local teachers aided him, he received most of his music education from Julius Weiss, a German-Jewish music professor who had immigrated to the United States from Germany.[11] Weiss had studied music at university in Germany and was listed in town records as a Professor of music. Impressed by Joplin's talent, and realizing his family's dire straits, Weiss taught him free of charge. He tutored the 11-year-old Joplin until he was 16, during which time Weiss introduced him to folk and classical music, including opera. Weiss helped Joplin appreciate music as an "art as well as an entertainment,"[12] and helped his mother acquire a used piano. According to his wife Lottie, Joplin never forgot Weiss and in his later years, when he achieved fame as a composer, sent his former teacher "...gifts of money when he was old and ill," until Weiss died.[11] At the age of 16 Joplin performed in a vocal quartet with three other boys in and around Texarkana, playing piano. In addition he taught guitar and mandolin.[12] Life in the Southern states and Chicago[edit] In the late 1880s, having performed at various local events as a teenager, Joplin chose to give up work as a laborer with the railroad and left Texarkana to become a traveling musician.[13] Little is known about his movements at this time, although he is recorded in Texarkana in July 1891 as a member of the Texarkana Minstrels in a performance that happened to be raising money for a monument to Jefferson Davis, President of the Southern Confederacy.[14] He soon discovered, however, that there were few opportunities for black pianists. Churches and brothels were among the few options for steady work. Joplin played pre-ragtime 'jig-piano' in various red-light districts throughout the mid-South, and some claim he was in Sedalia and St. Louis during this time.[15][16] In 1893 Joplin was in Chicago for the World's Fair. While in Chicago, he formed his first band playing cornet and began arranging music for the group to perform. Although the World's Fair minimized the involvement of African-Americans, black performers still came to the saloons, cafés and brothels that lined the fair. The exposition was attended by 27 million Americans and had a profound effect on many areas of American cultural life, including ragtime. Although specific information is sparse, numerous sources have credited the Chicago World Fair with spreading the popularity of ragtime.[17] Joplin found that his music, as well as that of other black performers, was popular with visitors.[18] By 1897 ragtime had become a national craze in American cities, and was described by the St. Louis Dispatch as "...a veritable call of the wild, which mightily stirred the pulses of city bred people."[19] Life in Missouri[edit] A 1906 recording of the Maple Leaf Rag by the United States Marine Band. This is the first surviving recording of the Maple Leaf Rag[20][21][22][23] MENU0:00 Problems playing this file? See media help. In 1894 Joplin arrived in Sedalia, Missouri. At first, Joplin stayed with the family of Arthur Marshall, at the time a 13-year old boy but later one of Joplin's students and a rag-time composer in his own right.[24] There is no record of Joplin having a permanent residence in the town until 1904, as Joplin was making a living as a touring musician. Front cover of the third edition of the Maple Leaf Rag sheet music There is little precise evidence known about Joplin's activities at this time, although he performed as a solo musician at dances and at the major black clubs in Sedalia, the Black 400 club and the Maple Leaf Club. He performed in the Queen City Cornet Band, and his own six-piece dance orchestra. A tour with his own singing group, the Texas Medley Quartet, gave him his first opportunity to publish his own compositions and it is known that he went to Syracuse, New York and Texas. Two businessmen from New York published Joplin's first two works, the songs Please Say You Will, and A Picture of her Face in 1895.[25] Joplin's visit to Temple, Texas enabled him to have three pieces published there in 1896, including the Great Crush Collision March, which commemorated a planned train crash on the Missouri-Kansas-Texas Railroad on September 15 that he may have witnessed. The March was described by one of Joplin's biographers as a "special... early essay in ragtime."[26] While in Sedalia he was teaching piano to students who included future ragtime composers Arthur Marshall, Brun Campbell, and Scott Hayden.[27] In turn, Joplin enrolled at the George R. Smith College, where he apparently studied "...advanced harmony and composition." The College records were destroyed in a fire in 1925,[28] and biographer Edward A. Berlin notes that it was unlikely that a small college for African-Americans would be able to provide such a course.[29][30][2] In 1899, Joplin married Belle, the sister-in-law of collaborator Scott Hayden. Although there were hundreds of rags in print by the time the Maple Leaf Rag was published, Joplin was not far behind. His first published rag, Original Rags, had been completed in 1897, the same year as the first ragtime work in print, the Mississippi Rag by William Krell. The Maple Leaf Rag was likely to have been known in Sedalia before its publication in 1899; Brun Campbell claimed to have seen the manuscript of the work in around 1898.[31] The exact circumstances that led to the Maple Leaf Rag's publication are unknown, and a number of versions of the event contradict each other. After several unsuccessful approaches to publishers, Joplin signed a contract on August 10, 1899 with John Stillwell Stark, a retailer of musical instruments who later became his most important publisher. The contract stipulated that Joplin would receive a 1% royalty on all sales of the rag, with a minimum sales price of 25 cents.[32] With the inscription "To the Maple Leaf Club" prominently visible along the top of at least some editions, it is likely that the rag was named after the Maple Leaf Club, although there is no direct evidence to prove the link, and there were many other possible sources for the name in and around Sedalia at the time.[33] Scott Joplin House in St Louis, Missouri There have been many claims about the sales of the Maple Leaf Rag, for example that Joplin was the first musician to sell 1 million copies of a piece of instrumental music.[2] Joplin's first biographer, Rudi Blesh wrote that during its first six months the piece sold 75,000 copies, and became "...the first great instrumental sheet music hit in America."[34] However, research by Joplin's later biographer Edward A. Berlin demonstrated that this was not the case; the initial print-run of 400 took one year to sell, and under the terms of Joplin's contract with a 1% royalty would have given Joplin an income of $4 (or approximately $113 at current prices). Later sales were steady, and would have given Joplin an income that would have covered his expenses. In 1909, estimated sales would have given him an income of $600 annually (approximately $15,749 in current prices).[35] The Maple Leaf Rag did serve as a model for the hundreds of rags to come from future composers, especially in the development of classic ragtime.[36] After the publication of the Maple Leaf Rag, Joplin was soon being described as King of rag time writers, not least by himself[37] on the covers of his own work, such as The Easy Winners and Elite Syncopations. After the Joplins moved to St. Louis in early 1900, they had a baby daughter who died only a few months after birth. Joplin's relationship with his wife was difficult, as she had no interest in music. They eventually separated and then divorced.[38] About this time, Joplin collaborated with Scott Hayden in the composition of four rags.[39] It was in St. Louis that Joplin produced some of his best-known works, including The Entertainer, March Majestic, and the short theatrical work The Ragtime Dance. In June 1904, Joplin married Freddie Alexander of Little Rock, Arkansas, the young woman to whom he had dedicated The Chrysanthemum. She died on September 10, 1904 of complications resulting from a cold, ten weeks after their wedding.[40] Joplin's first work copyrighted after Freddie's death, Bethena, was described by one biographer as "...an enchantingly beautiful piece that is among the greatest of ragtime waltzes."[41] During this time, Joplin created an opera company of 30 people and produced his first opera A Guest of Honor for a national tour. It is not certain how many productions were staged, or even if this was an all-black show or a racially mixed production. During the tour, either in Springfield, Illinois, or Pittsburg, Kansas, someone associated with the company stole the box office receipts. Joplin could not meet the company's payroll or pay for its lodgings at a theatrical boarding house. It is believed that the score for A Guest of Honor was lost and perhaps destroyed because of non-payment of the company's boarding house bill.[42] Later years[edit] Front cover of the "Wall Street Rag" (1909) sheet music In 1907, Joplin moved to New York City, which he believed was the best place to find a producer for a new opera. After his move to New York, Joplin met Lottie Stokes, whom he married in 1909.[39] In 1911, unable to find a publisher, Joplin undertook the financial burden of publishing Treemonisha himself in piano-vocal format. In 1915, as a last-ditch effort to see it performed, he invited a small audience to hear it at a rehearsal hall in Harlem. Poorly staged and with only Joplin on piano accompaniment, it was "a miserable failure" to a public not ready for "crude" black musical forms—so different from the European grand opera of that time.[43] The audience, including potential backers, was indifferent and walked out.[38] Scott writes that "after a disastrous single performance ... Joplin suffered a breakdown. He was bankrupt, discouraged, and worn out." He concludes that few American artists of his generation faced such obstacles: "Treemonisha went unnoticed and unreviewed, largely because Joplin had abandoned commercial music in favor of art music, a field closed to African Americans."[27] In fact, it was not until the 1970s that the opera received a full theatrical staging. In 1914, Joplin and Lottie self-published his Magnetic Rag as the Scott Joplin Music Company, which he had formed the previous December.[44] Biographer Vera Brodsky Lawrence speculates that Joplin was aware of his advancing deterioration due to syphilis and was "...consciously racing against time." In her sleeve notes on the 1992 Deutsche Grammophon release of Treemonisha she notes that he "...plunged feverishly into the task of orchestrating his opera, day and night, with his friend Sam Patterson standing by to copy out the parts, page by page, as each page of the full score was completed."[43] Death[edit] By 1916, Joplin was suffering from tertiary syphilis and a resulting descent into insanity.[45][46] In January 1917, he was admitted to Manhattan State Hospital, a mental institution.[47] He died there on April 1 of syphilitic dementia at the age of 49[43][48] and was buried in a pauper's grave that remained unmarked for 57 years. His grave at Saint Michaels Cemetery in East Elmhurst was finally given a marker in 1974.[49] Works[edit] Further information: List of compositions by Scott Joplin Maple Leaf Rag MENU0:00 The Entertainer MENU0:00 Problems playing these files? See media help. The combination of classical music, the musical atmosphere present around Texarkana (including work songs, gospel hymns, spirituals and dance music) and Joplin's natural ability has been cited as contributing significantly to the invention of a new style that blended African-American musical styles with European forms and melodies, and first became celebrated in the 1890s: ragtime.[10] When Joplin was learning the piano, serious musical circles condemned ragtime because of its association with the vulgar and inane songs "...cranked out by the tune-smiths of Tin Pan Alley."[50] As a composer Joplin refined ragtime, elevating it above the low and unrefined form played by the "...wandering honky-tonk pianists... playing mere dance music" of popular imagination.[51] This new art form, the classic rag, combined Afro-American folk music's syncopation and 19th-century European romanticism, with its harmonic schemes and its march-like tempos.[39][52] In the words of one critic, "Ragtime was basically... an Afro-American version of the polka, or its analog, the Sousa-style march."[53] With this as a foundation, Joplin intended his compositions to be played exactly as he wrote them – without improvisation.[27] Joplin wrote his rags as "classical" music in miniature form in order to raise ragtime above its "cheap bordello" origins and produced work that opera historian Elise Kirk described as, "... more tuneful, contrapuntal, infectious, and harmonically colorful than any others of his era."[15] Some speculate that Joplin's achievements were influenced by his classically trained German music teacher Julius Weiss, who may have brought a polka rhythmic sensibility from the old country to the 11-year old Joplin.[54] As Curtis put it, "The educated German could open up the door to a world of learning and music of which young Joplin was largely unaware."[50] Joplin's first and most significant hit, the Maple Leaf Rag, was described as the archetype of the classic rag, and influenced subsequent rag composers for at least 12 years after its initial publication thanks to its rhythmic patterns, melody lines, and harmony,[36] though with the exception of Joseph Lamb, they generally failed to enlarge upon it.[55] Treemonisha[edit] Treemonisha (1911) Main article: Treemonisha The opera's setting is a former slave community in an isolated forest near Joplin's childhood town Texarkana in September 1884. The plot centers on an 18-year old woman Treemonisha who is taught to read by a white woman, and then leads her community against the influence of conjurers who prey on ignorance and superstition. Treemonisha is abducted and is about to be thrown into a wasps' nest when her friend Remus rescues her. The community realizes the value of education and the liability of their ignorance before choosing her as their teacher and leader.[56][57][58] Joplin wrote both the score and the libretto for the opera, which largely follows the form of European opera with many conventional arias, ensembles and choruses. In addition the themes of superstition and mysticism evident in Treemonisha are common in the operatic tradition, and certain aspects of the plot echo devices in the work of the German composer Richard Wagner (of which Joplin was aware). A sacred tree Treemonisha sits beneath recalls the tree that Siegmund takes his enchanted sword from in Die Walküre, and the retelling of the heroine's origins echos aspects of the opera Siegfried. In addition, African-American folk tales also influence the story—the wasp nest incident is similar to the story of Br'er Rabbit and the briar patch.[59] Treemonisha is not a ragtime opera—because Joplin employed the styles of ragtime and other black music sparingly, using them to convey "racial character," and to celebrate the music of his childhood at the end of the 19th century. The opera has been seen as a valuable record of rural black music from late 19th century re-created by a "skilled and sensitive participant."[60] Berlin speculates about parallels between the plot and Joplin's own life. He notes that Lottie Joplin (the composer's third wife) saw a connection between the character Treemonisha's wish to lead her people out of ignorance, and a similar desire in the composer. In addition, it has been speculated that Treemonisha represents Freddie, Joplin's second wife, because the date of the opera's setting was likely to have been the month of her birth.[61] At the time of the opera's publication in 1911, the American Musician and Art Journal praised it as, "...an entirely new form of operatic art."[62] Later critics have also praised the opera as occupying a special place in American history, with its heroine, "...a startlingly early voice for modern civil rights causes, notably the importance of education and knowledge to African American advancement."[63] Curtis's conclusion is similar: "In the end, Treemonisha offered a celebration of literacy, learning, hard work, and community solidarity as the best formula for advancing the race."[58] Berlin describes it as a "...fine opera, certainly more interesting than most operas then being written in the United States," but later states that Joplin's own libretto showed the composer, "...was not a competent dramatist," with the book not up to the quality of the music.[64] Performance skills[edit] "Pleasant Moments – Ragtime Waltz" – played by Scott Joplin (April 1916) MENU0:00 An April 1916 Piano Roll recording of Scott Joplin. Thought lost until discovered by a collector in New Zealand in 2006.[65] "Maple Leaf Rag" – played by Scott Joplin (June 1916) MENU0:00 A June 1916 Piano Roll recording of Scott Joplin for The Aeolian Company. Problems playing these files? See media help. Joplin's skills as a pianist were described in glowing terms by a Sedalia newspaper in 1898, and fellow ragtime composers Arthur Marshall and Joe Jordan both said that he played the instrument well.[39] However, the son of publisher John Stark stated that Joplin was a rather mediocre pianist and that he composed on paper, rather than at the piano. Artie Matthews recalled the "delight" the St. Louis players took in outplaying Joplin.[66] While Joplin never made an audio recording, his playing is preserved on seven piano rolls for use in mechanical player pianos. All seven were made in 1916. Of these, the six released under the Connorized label show evidence of significant editing,[67] probably by William Axtmann, the staff arranger at Connorized.[68] Berlin theorizes that by the time Joplin reached St. Louis, he may have experienced discoordination of the fingers, tremors, and an inability to speak clearly—all symptoms of the syphilis that took his life in 1917.[69] Biographer Blesh described the second roll recording of Maple Leaf Rag on the UniRecord label from June 1916 as "...shocking... disorganized and completely distressing to hear."[70] While there is disagreement among piano-roll experts about the accuracy of the reproduction of a player's performance,[71][72][73][74] Berlin notes that the Maple Leaf Rag roll was, "painfully bad," and likely to be the truest record of Joplin's playing at the time. The roll, however, does not reflect his abilities earlier in life.[67] Legacy[edit] "Nonpareil" (1907) Joplin and his fellow ragtime composers rejuvenated American popular music, fostering an appreciation for African American music among European Americans by creating exhilarating and liberating dance tunes, changing American musical taste. "Its syncopation and rhythmic drive gave it a vitality and freshness attractive to young urban audiences indifferent to Victorian proprieties ... Joplin's ragtime expressed the intensity and energy of a modern urban America."[27] Joshua Rifkin, a leading Joplin recording artist, wrote, "A pervasive sense of lyricism infuses his work, and even at his most high-spirited, he cannot repress a hint of melancholy or adversity ... He had little in common with the fast and flashy school of ragtime that grew up after him."[75] Joplin historian Bill Ryerson adds that, "In the hands of authentic practitioners like Joplin, ragtime was a disciplined form capable of astonishing variety and subtlety ... Joplin did for the rag what Chopin did for the mazurka. His style ranged from tones of torment to stunning serenades that incorporated the bolero and the tango."[38] Biographer Susan Curtis wrote that Joplin's music had helped to "...revolutionise American music and culture" by removing Victorian restraint.[76] Composer and actor Max Morath found it striking that the vast majority of Joplin's work did not enjoy the popularity of the Maple Leaf Rag, because while the compositions were of increasing lyrical beauty and delicate syncopation they remained obscure and unheralded during his lifetime.[55] Joplin apparently realized that his music was ahead of its time: As music historian Ian Whitcomb mentions that Joplin, "...opined that Maple Leaf Rag would make him 'King of Ragtime Composers' but he also knew that he would not be a pop hero in his own lifetime. 'When I'm dead twenty-five years, people are going to recognize me,' he told a friend." Just over thirty years later he was recognized, and later historian Rudi Blesh wrote a large book about ragtime, which he dedicated to the memory of Joplin.[51] Although he was penniless and disappointed at the end of his life, Joplin set the standard for ragtime compositions and played a key role in the development of ragtime music. And as a pioneer composer and performer, he helped pave the way for young black artists to reach American audiences of both races. After his death, jazz historian Floyd Levin noted: "Those few who realized his greatness bowed their heads in sorrow. This was the passing of the king of all ragtime writers, the man who gave America a genuine native music."[77] Revival[edit] After his death in 1917, Joplin's music and ragtime in general waned in popularity as new forms of musical styles, such as jazz and novelty piano, emerged. Even so, jazz bands and recording artists such as Tommy Dorsey in 1936, Jelly Roll Morton in 1939 and J. Russell Robinson in 1947 released recordings of Joplin compositions. Maple Leaf Rag was the Joplin piece found most often on 78 rpm records.[78] In the 1960s, a small-scale reawakening of interest in classical ragtime was underway among some American music scholars such as Trebor Tichenor, William Bolcom, William Albright and Rudi Blesh. Audiophile Records released a two record set, The Complete Piano Works of Scott Joplin, The Greatest of Ragtime Composers, performed by Knocky Parker, in 1970.[79] In 1968, Bolcom and Albright interested Joshua Rifkin, a young musicologist, in the body of Joplin's work. Together, they hosted an occasional ragtime-and-early-jazz evening on WBAI radio.[80] In November 1970, Rifkin released a recording called Scott Joplin: Piano Rags[81] on the classical label Nonesuch. It sold 100,000 copies in its first year and eventually became Nonesuch's first million-selling record.[82] The Billboard "Best-Selling Classical LPs" chart for September 28, 1974 has the record at number 5, with the follow-up "Volume 2" at number 4, and a combined set of both volumes at number 3. Separately both volumes had been on the chart for 64 weeks. In the top 7 spots on that chart, 6 of the entries were recordings of Joplin's work, three of which were Rifkin's.[83] Record stores found themselves for the first time putting ragtime in the classical music section. The album was nominated in 1971 for two Grammy Award categories: Best Album Notes and Best Instrumental Soloist Performance (without orchestra). Rifkin was also under consideration for a third Grammy for a recording not related to Joplin, but at the ceremony on March 14, 1972, Rifkin did not win in any category.[84] He did a tour in 1974, which included appearances on BBC Television and a sell-out concert at London's Royal Festival Hall.[85] In 1979 Alan Rich in the New York Magazine wrote that by giving artists like Rifkin the opportunity to put Joplin's music on disk Nonesuch Records "...created, almost alone, the Scott Joplin revival."[86] In January 1971, Harold C. Schonberg, music critic at the New York Times, having just heard the Rifkin album, wrote a featured Sunday edition article entitled "Scholars, Get Busy on Scott Joplin!"[87] Schonberg's call to action has been described as the catalyst for classical music scholars, the sort of people Joplin had battled all his life, to conclude that Joplin was a genius.[88] Vera Brodsky Lawrence of the New York Public Library published a two-volume set of Joplin works in June 1971, entitled The Collected Works of Scott Joplin, stimulating a wider interest in the performance of Joplin's music. In mid-February 1973 under the direction of Gunther Schuller, The New England Conservatory Ragtime Ensemble recorded an album of Joplin's rags taken from the period collection Standard High-Class Rags called Joplin: The Red Back Book. The album won a Grammy Award as Best Chamber Music Performance in that year, and went on to become Billboard magazine's Top Classical Album of 1974.[89] The group subsequently recorded two more albums for Golden Crest Records: More Scott Joplin Rags in 1974 and The Road From Rags To Jazz in 1975. In 1973, film producer George Roy Hill contacted Schuller and Rifkin separately, asking each man to write the score for a film project he was working on: The Sting. Both men turned down the request because of previous commitments. Instead Hill found Marvin Hamlisch available, and brought him into the project as composer.[90] Hamlisch lightly adapted Joplin's music for the The Sting, for which he won an Academy Award for Best Original Song Score and Adaptation on April 2, 1974.[91] His version of The Entertainer reached number 3 on the Billboard Hot 100 and the American Top 40 music chart on May 18, 1974,[92][93] prompting The New York Times to write, "The whole nation has begun to take notice."[85] Thanks to the film and its score, Joplin's work became appreciated in both the popular and classical music world, becoming (in the words of music magazine Record World), the "classical phenomenon of the decade."[94] Rifkin later said of the film soundtrack that Hamlisch lifted his piano adaptations directly from Rifkin's style and his band adaptations from Schuller's style.[90] Schuller said Hamlisch, "...got the Oscar for music he didn't write (since it is by Joplin) and arrangements he didn't write, and 'editions' he didn't make. A lot of people were upset by that, but that's show biz!"[90] On October 22, 1971, excerpts from Treemonisha were presented in concert form at Lincoln Center with musical performances by Bolcom, Rifkin and Mary Lou Williams supporting a group of singers.[95] Finally, on January 28, 1972, T.J. Anderson's orchestration of Treemonisha was staged for two consecutive nights, sponsored by the Afro-American Music Workshop of Morehouse College in Atlanta, with singers accompanied by the Atlanta Symphony Orchestra[96] under the direction of Robert Shaw, and choreography by Katherine Dunham. Schonberg remarked in February 1972 that the "Scott Joplin Renaissance" was in full swing and still growing.[97] In May 1975, Treemonisha was staged in a full opera production by the Houston Grand Opera. The company toured briefly, then settled into an eight-week run in New York on Broadway at the Palace Theater in October and November. This appearance was directed by Gunther Schuller, and soprano Carmen Balthrop alternated with Kathleen Battle as the title character.[96] An "original Broadway cast" recording was produced. Because of the lack of national exposure given to the brief Morehouse College staging of the opera in 1972, many Joplin scholars wrote that the Houston Grand Opera's 1975 show was the first full production.[95] 1974 saw the Royal Ballet, under director Kenneth MacMillan, create Elite Syncopations a ballet based on tunes by Joplin and other composers of the era.[98] That year also brought the premiere by the Los Angeles Ballet of Red Back Book, choreographed by John Clifford to Joplin rags from the collection of the same name, including both solo piano performances and arrangements for full orchestra. Other awards and recognition[edit] 1970: Joplin was inducted into the Songwriters Hall of Fame by the National Academy of Popular Music.[99] 1976: Joplin was awarded a special Pulitzer Prize, "...bestowed posthumously in this Bicentennial Year, for his contributions to American music."[100] 1977: Motown Productions produced Scott Joplin, a biographical film starring Billy Dee Williams as Joplin, released by Universal Pictures.[101] 1983: the United States Postal Service issued a stamp of the composer as part of its Black Heritage commemorative series.[102] 1989: Joplin received a star on the St. Louis Walk of Fame.[103] 2002: a collection of Joplin's own performances recorded on piano rolls in the 1900s (decade) was included by the National Recording Preservation Board in the Library of Congress National Recording Registry.[104] The board annually selects songs that are "...culturally, historically, or aesthetically significant".