Different forms of art have always been known to be a representative of society’s current states. During racial repressions, music as an art form was largely used as an expression of social oppression. In this paper, a comparison of Scott Joplin and Louis Armstrong’s pieces are done to find some musical differences that could allude to different impressions from their respective time periods.
Joplin was an artist popular in the early 20 th century and was most famous for his ragtime music. The title ‘The Easy Winners’ referred to sporting individuals who won events without much difficulty, depicting sports such as baseball, sailing and football – sports originally reserved for white people at this time. The pattern for this song remains similar to other Joplin songs having an introduction before the A strain, similar to the call before the beginning of a horse race (Berlin, 1994). Another introduction comes before the C strain. “Hotter than that” is done in jazz manner containing an elliptical method to performing it. Armstrong brings in his solo on the third time after the 32-bar by the clarinet, where scat singing is done. Armstrong’s style is done in complex irregular fashion, using notes outside his chords thereby pressing further outside the original melody.
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Comparing the two pieces of music, similarity is found with the similar patterns found for both artists. Their songs resonate with the same patterns and one can find some similarity for their music within their respective genres. However, a glaring difference is Armstrong’s affinity to deviation from the original chords while Joplin remained within his confines for most of his music. This could point to the deviant attitude that was present during Louis Armstrong’s time towards racial repression as opposed to the relatively passive attitude towards racial oppression during Joplin’s time.
Again the reception of the music between the two artists is quite different. While Joplin had a hard time exploring music at his time, Armstrong was quite confident with different styles of music, but playing with the same band for his music. While racial oppression was prevalent during both historical times, the economic aspect of this disparity was quite apparent during Joplin’s time, thus reflecting in his music which was ‘towing the line’ of ragtime music. This, in fact, came at the expense of any ambition he had of going into different genres. However, the case is different with Armstrong. His ability to deviate from the norm in playing his notes signifies a much larger picture that was brought about by the slowly-rising economic empowerment of racially oppressed groups, including black Americans that came with his era. His music might, in fact, be foreshadowing the future of previously oppressed groups leaving the norm of social and economic disadvantage, which will appear ‘out of tune’ with societal expectations at the time.
Conclusively, the styles of music both come from a racially repressive era. Nevertheless, Armstrong’s music shows a more hostile environment where this vice became less socially acceptable as opposed to Joplin’s time. Whereas in Joplin’s time, racial repression was quite acceptable, Armstrong makes it clear that this is not something he is comfortable with through his deviant playing. It is symbolic for the wider defiance from the norm of social repression on racial basis.
References
Berlin, E. (1994). King of Ragtime: Scott Joplin and his Era. New York, NY: Oxford University Press.
