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King of Ragtime: Scott Joplin and His Era
In 1974, the academy award-winning film The Sting brought back the music of Scott Joplin, a black ragtime composer who died in 1917. Led by The Entertainer , one of the most popular pieces of the mid-1970s, a revival of his music resulted in events unprecedented in American musical history.
Never before had any composer's music been so acclaimed by both the popular and classical music worlds. While reaching a "Top Ten" position in the pop charts, Joplin's music was also being performed in classical recitals and setting new heights for sales of classical records. His opera Treemonisha
was performed both in opera houses and on Broadway.
Destined to be the definitive work on the man and his music, King of Ragtime is written by Edward A. Berlin. A renowned authority on Joplin and the author of the acclaimed and widely cited A Musical and Cultural History , Berlin redefines the Scott Joplin biography. Using the tools of a
trained musicologist, he has uncovered a vast amount of new information about Joplin. His biography truly documents the story of the composer, replacing the myths and unsupported anecdotes of previous histories. He shows how Joplin's opera Treemonisha was a tribute to the woman he loved, a woman
other biographers never even mentioned. Berlin also reveals that Joplin was an associate of Irving Berlin, and that he accused Berlin of stealing his music to compose Alexander's Ragtime Band in 1911.
Berlin paints a vivid picture of the ragtime years, placing Scott Joplin's story in its historical context. The composer emerges as a representative of the first post-Civil War generation of African Americans, of the men and women who found in the world of entertainment a way out of poverty and
lowly social status. King of Ragtime recreates the excitement of these pioneers, who dreamed of greatness as they sought to expand the limits society placed upon their race.
Never before had any composer's music been so acclaimed by both the popular and classical music worlds. While reaching a "Top Ten" position in the pop charts, Joplin's music was also being performed in classical recitals and setting new heights for sales of classical records. His opera Treemonisha
was performed both in opera houses and on Broadway.
Destined to be the definitive work on the man and his music, King of Ragtime is written by Edward A. Berlin. A renowned authority on Joplin and the author of the acclaimed and widely cited A Musical and Cultural History , Berlin redefines the Scott Joplin biography. Using the tools of a
trained musicologist, he has uncovered a vast amount of new information about Joplin. His biography truly documents the story of the composer, replacing the myths and unsupported anecdotes of previous histories. He shows how Joplin's opera Treemonisha was a tribute to the woman he loved, a woman
other biographers never even mentioned. Berlin also reveals that Joplin was an associate of Irving Berlin, and that he accused Berlin of stealing his music to compose Alexander's Ragtime Band in 1911.
Berlin paints a vivid picture of the ragtime years, placing Scott Joplin's story in its historical context. The composer emerges as a representative of the first post-Civil War generation of African Americans, of the men and women who found in the world of entertainment a way out of poverty and
lowly social status. King of Ragtime recreates the excitement of these pioneers, who dreamed of greatness as they sought to expand the limits society placed upon their race.
352 pages, Hardcover
First published January 1, 1994
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190 people want to read
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Displaying 1 - 16 of 16 reviews
June 14, 2016
Among composers, few have dominated a genre of music as completely as Scott Joplin did ragtime. His dozens of compositions, ranging from "Maple Leaf Rag" to "The Entertainer," became the music of their era and contributed to the development of jazz. Nor did Joplin limit himself to composing instrumental tunes, as his ambitions to be regarded as a composer of classical music led him to write a ballet and two operas as well. Yet for all of his success and the enduring influence of his music, Joplin died in poverty, virtually ignored by his contemporaries.
Many of the details of Joplin's life are unfortunately lost to us, and what remains is often confused or contradictory. Writing Joplin's biography is practically a tale in itself, and one that Ed Berlin describes at the start of this book. Originally written a quarter-century ago, it reflected years of research, yet even then provided at best a hazy understanding of many parts of Joplin's life and career. When undertaking a revised edition, Berlin was able to utilize the Internet to access a far wider range of sources than had previously possible, particularly newspaper articles and notices of Joplin's early career as a performer. With them he was able to fill in some of the gaps in our understanding of Joplin, resulting in the best biography yet of the composer.
Yet in spite of Berlin's efforts, some of the most basic information remains elusive. Even the date of Joplin's birth remains unknown, with Berlin having to rely upon deduction to approximate it around 1867 or 1868. The reflected the impoverished circumstances of Joplin's family, yet Joplin's family worked to overcome this poverty to give young Scott a musical education. Berlin credits Julius Weiss, a German immigrant who served as Joplin's music teacher, as key in providing Joplin with his education in music as well as his aspirations for acceptance within the classical tradition.
After a period spent as a performer traveling with various groups Joplin settled in Sedalia, Missouri. By describing in detail the community in which Joplin lived Berlin is able to infer some of the particulars of Joplin's life during this period, one in which Joplin began publishing compositions with John Stark, who became an important figure in Joplin's life. Yet the growing success Joplin enjoyed with "Maple Leaf Rag" and other compositions was tempered with tragedy in his personal life and setbacks in his career. Joplin's first marriage soon ended after the death of their infant daughter and his second wife died just ten weeks after their wedding, while his first opera, A Guest of Honor, was lost when the theatrical boarding house seized the materials for it for nonpayment of bills. Though Joplin remarried after his move to New York in 1907 and wrote a second opera, Treemonisha, his physical and mental health soon declined as a result of syphilis, resulting in his death in 1917.
Berlin's book is a remarkable study of Joplin's life and music. While much remains unknown (and with some of the details disputed by other authors) Berlin's assiduous detective work is nothing short of impressive, while his analysis of Joplin's compositions — illustrated with musical notations within the text — provides readers with a deeper appreciation of his music. While much about Joplin may remain frustratingly unknown, Berlin provides us with the best understanding yet of the times in which Joplin lived and his legacy as an artist. It should be read by anyone interested in the man or his music.
Many of the details of Joplin's life are unfortunately lost to us, and what remains is often confused or contradictory. Writing Joplin's biography is practically a tale in itself, and one that Ed Berlin describes at the start of this book. Originally written a quarter-century ago, it reflected years of research, yet even then provided at best a hazy understanding of many parts of Joplin's life and career. When undertaking a revised edition, Berlin was able to utilize the Internet to access a far wider range of sources than had previously possible, particularly newspaper articles and notices of Joplin's early career as a performer. With them he was able to fill in some of the gaps in our understanding of Joplin, resulting in the best biography yet of the composer.
Yet in spite of Berlin's efforts, some of the most basic information remains elusive. Even the date of Joplin's birth remains unknown, with Berlin having to rely upon deduction to approximate it around 1867 or 1868. The reflected the impoverished circumstances of Joplin's family, yet Joplin's family worked to overcome this poverty to give young Scott a musical education. Berlin credits Julius Weiss, a German immigrant who served as Joplin's music teacher, as key in providing Joplin with his education in music as well as his aspirations for acceptance within the classical tradition.
After a period spent as a performer traveling with various groups Joplin settled in Sedalia, Missouri. By describing in detail the community in which Joplin lived Berlin is able to infer some of the particulars of Joplin's life during this period, one in which Joplin began publishing compositions with John Stark, who became an important figure in Joplin's life. Yet the growing success Joplin enjoyed with "Maple Leaf Rag" and other compositions was tempered with tragedy in his personal life and setbacks in his career. Joplin's first marriage soon ended after the death of their infant daughter and his second wife died just ten weeks after their wedding, while his first opera, A Guest of Honor, was lost when the theatrical boarding house seized the materials for it for nonpayment of bills. Though Joplin remarried after his move to New York in 1907 and wrote a second opera, Treemonisha, his physical and mental health soon declined as a result of syphilis, resulting in his death in 1917.
Berlin's book is a remarkable study of Joplin's life and music. While much remains unknown (and with some of the details disputed by other authors) Berlin's assiduous detective work is nothing short of impressive, while his analysis of Joplin's compositions — illustrated with musical notations within the text — provides readers with a deeper appreciation of his music. While much about Joplin may remain frustratingly unknown, Berlin provides us with the best understanding yet of the times in which Joplin lived and his legacy as an artist. It should be read by anyone interested in the man or his music.
May 23, 2020
The cover shown is for the first edition, from 1994. A new edition was issued in 2016 that is a third larger. Read the later one.
May 30, 2012
I was lucky to have had two professors at Western Connecticut State who lived and taught the history of Jazz. Since Ragtime falls in the transitional period near the turn of the century, both sections of these courses covered Scott Joplin. I love his music and have even played guitar arrangements. This was a fairly pedestrian account of his life. Sadly, as an African-American living in relative poverty in a period that was not friendly to his race, much of the historical record of his life is sketchy. For that reason the book takes on the flavor of social history since many of the realities of Joplin's life were common to African-Americans of the period. I always find that my favorite histories give a strong atmospheric impression - this book does that. Berlin also does a good deal of musical analysis giving excerpts of manuscripts when describing controversies of originality as well as the development of Joplin's art.
I may have approached this book with a favorable prejudice, but it was never the less a really enjoyable read. I would recommend it highly for anyone with an interest in Ragtime or the history of Jazz. Joplin is the towering figure and a brilliant composer. His life holds no shocking surprises, but the book is well written and enjoyable.
I may have approached this book with a favorable prejudice, but it was never the less a really enjoyable read. I would recommend it highly for anyone with an interest in Ragtime or the history of Jazz. Joplin is the towering figure and a brilliant composer. His life holds no shocking surprises, but the book is well written and enjoyable.
March 10, 2016
Very good account of the life and works of Scott Joplin, arguably the best ragtime composer and the first African-American musician of note. Highly recommendable to anyone interested in the man and his music, with a few caveats. The biographical bits are interspersed with analysis of his creations, featuring plenty of examples in musical notation and heavy use of musical jargon and terms whose knowledge is taken for granted; the non-technical reader might find these passages difficult to follow. Perhaps the best way to enjoy this texts is to read it at the piano, or, if your playing skills are a little on the rusty side (like mine) while listening to Joshua Rifkin’s recordings (a must-have for anyone even remotely interested in Ragtime BTW).
January 29, 2017
Ed Berlin's book is the definitive Joplin biography. We are benefitting from his research as we build the Scott Joplin Online Centennial and archive: http://scottjoplinarchive.org
October 3, 2023
Excellent old school music + social history!
September 2, 2025
This book was awesome. It's fascinating how little we truly know about Scott Joplin, and how Berlin is able to construct such an coherent narrative from conflicting evidence and testimonials, while being honest about what we don't know for sure. He's a detective who's digging for the truth, all the while doing a great job of breaking down the music itself and what makes it so special. Made me break out my ragtime book and start playing again! Highly recommended for piano nerds like me.
May 11, 2024
This book well-reseached and documented, and the biographical information is captivating. The one drawback for some will be that it reads very much like a college text book (which it probably is). A basic understanding of music theory and history will help the read.
October 8, 2025
An excellent book! Readable but also well-researched. That was no small feat considering the many contradictions in the oral histories and the paucity of documents. Recommended.
May 12, 2025
(NOTE: I read the 2nd edition, not the one pictured here)
This is such an incredible book! Ed Berlin has done a fascinating job of tracking down the most obscure references to Mr. Joplin et al and pieced them together into a narrative that never assumes anything, always balancing what is known with what seems most probable in Joplin's story. We feel the joys and defeats every step of the way, as Joplin toils to be taken seriously as a composer of not only ragtime, but of other "more respectable" music (i.e. his opera Treemonisha, but other forms too as we find out).
Mr. Berlin's observations of Joplin's evolving style in the classic rags that we all know and love is also very enlightening, pointing out details that I have missed in more casual listening, and for this I am especially grateful.
The sad, painful details of Joplin's decline and death, and the horrible bad luck that allowed his trunk full of manuscripts and unpublished works to survive as late as 1962, only to be discarded as being "of no interest or value" is heart-wrenching. Again, Mr. Berlin's research was immaculately thorough, leaving no possibility unconsidered. Florence Price's manuscripts could very easily have suffered the same fate as Joplin's, had the fates been as unkind to her as they were to Joplin.
It is also quite interesting to learn of the slow revival of interest in ragtime, essentially staring with the 1950 opus "The All Played Ragtime" and the evolving interest in the 1960's through such people as Bob Darch, Max Morath, William Bolcom, and many others ... the publication of Joplin's "Collected Works" (you'll learn the subtle inference of that title on page) in 1971, the 1973 recording of Joplin's "Red Back Book" by the New England Conservatory Ragtime Orchestra which inspired the producers of "The Sting" to use Joplin's music in their 1974 movie - bringing Joplin's music to the largest audience it ever enjoyed.
I am in absolute awe of the work Ed Berlin has done here, and grateful for the treat of learning so much about Scott Joplin, Arthur Marshall, James Scott, Joseph Lamb; Lottie Joplin, and so many others. Thank you, Mr. Berlin!!
This is such an incredible book! Ed Berlin has done a fascinating job of tracking down the most obscure references to Mr. Joplin et al and pieced them together into a narrative that never assumes anything, always balancing what is known with what seems most probable in Joplin's story. We feel the joys and defeats every step of the way, as Joplin toils to be taken seriously as a composer of not only ragtime, but of other "more respectable" music (i.e. his opera Treemonisha, but other forms too as we find out).
Mr. Berlin's observations of Joplin's evolving style in the classic rags that we all know and love is also very enlightening, pointing out details that I have missed in more casual listening, and for this I am especially grateful.
The sad, painful details of Joplin's decline and death, and the horrible bad luck that allowed his trunk full of manuscripts and unpublished works to survive as late as 1962, only to be discarded as being "of no interest or value" is heart-wrenching. Again, Mr. Berlin's research was immaculately thorough, leaving no possibility unconsidered. Florence Price's manuscripts could very easily have suffered the same fate as Joplin's, had the fates been as unkind to her as they were to Joplin.
It is also quite interesting to learn of the slow revival of interest in ragtime, essentially staring with the 1950 opus "The All Played Ragtime" and the evolving interest in the 1960's through such people as Bob Darch, Max Morath, William Bolcom, and many others ... the publication of Joplin's "Collected Works" (you'll learn the subtle inference of that title on page) in 1971, the 1973 recording of Joplin's "Red Back Book" by the New England Conservatory Ragtime Orchestra which inspired the producers of "The Sting" to use Joplin's music in their 1974 movie - bringing Joplin's music to the largest audience it ever enjoyed.
I am in absolute awe of the work Ed Berlin has done here, and grateful for the treat of learning so much about Scott Joplin, Arthur Marshall, James Scott, Joseph Lamb; Lottie Joplin, and so many others. Thank you, Mr. Berlin!!
November 22, 2012
An excellent read of the enigmatic Scott Joplin. Classically educated, but relegated to the work of minstrel shows for much of his early life, Joplin qualifies as the first ultimately successful black American composer. There is much explained and as much not, but you might want to play Joshua Rifkin's classic Nonesuch recordings which remain the sine qua non of all Joplin interpretations. Forget the soundtrack to The Sting- Maple Leaf Rag remains one of the most important compositions in America's piano history, which is deeply researched here, and a large portion toward the end of the book focuses on Treemonisha, Joplin's operatic contribution to high art. Joplin knew he would not be appreciated until long after his passage. Loved this book, love the music, an interesting read!
June 30, 2024
Started 6-27-24. After watching an old movie on TCM about Scott Joplin last week, I decided I needed to know more. Finished 6-29-24. Scholarly study of Scott Joplin, his life and his music. Examples of "scholarly"work: first five pages exploring Joplin's birthdate and birthplace. A later chapter reviews his "Maple Leaf Rag"--its origin, its musicality, its success and its impact on others' music. The book contains music notation for several songs and almost 100 pages of notes. I just wished he could've lived long enough to see his acclaim. Dying at 43 is just not fair.
July 4, 2012
This book is an at times excruciatingly detailed biography of Scott Joplin's life, based on what little facts and information were available. I quite enjoyed it, although was already a huge Joplin and ragtime fan. It is quite exhaustive, mentioning Joplin's entire catalog and even going into detail about the phrasing and musicality of many of his compositions. It's a must read for other Joplin or ragtime fans, but I think general readers would get bored with the minutiae.
May 9, 2022
A great and thrilling book on ragtime. The second edition apparently improves on the first, so I would direct my attention to it if curious. Fantastic to read.
April 6, 2016
Little bit of a change of pace...
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October 30, 2015Biog J825b 1995
Displaying 1 - 16 of 16 reviews