when did ragtime flourished in the united states
between 1895 and 1918
title: Ragtime text: late 19th century and descended from the jigs and march music played by African American bands, referred to as "jig piano" or "piano thumping". By the start of the 20th century, it became widely popular throughout North America and was listened and danced to, performed, and written by people of many different subcultures. A distinctly American musical style, ragtime may be considered a synthesis of African syncopation and European classical music, especially the marches made popular by John Philip Sousa. Some early piano rags are entitled marches, and "jig" and "rag" were used interchangeably in the mid-1890s. Ragtime was also title: Ragtime text: Ragtime Ragtime – also spelled rag-time or rag time – is a musical style that enjoyed its peak popularity between 1895 and 1918. Its cardinal trait is its syncopated or "ragged" rhythm. The style has its origins in African-American communities in cities such as St. Louis. Ernest Hogan (1865–1909) was a pioneer of ragtime and was the first composer to have his ragtime pieces (or "rags") published as sheet music, beginning with the song "La Pas Ma La" published in 1895. Hogan has been credited with coining the term "ragtime". The term is derived from his hometown "Shake Rag" in title: Ragtime text: Bowling Green, Kentucky. Ben Harney, another Kentucky native, has often been credited with introducing the music to the mainstream public. His first ragtime composition, "You've Been a Good Old Wagon But You Done Broke Down", helped popularize the style. The composition was published in 1896, a few months after Hogan's "La Pas Ma La". Ragtime was also a modification of the march style popularized by John Philip Sousa, with additional polyrhythms coming from African music. Ragtime composer Scott Joplin ("ca." 1868–1917) became famous through the publication of the "Maple Leaf Rag" (1899) and a string of ragtime hits such as title: Ragtime text: traditional ragtime depended on amateur pianists and sheet music sales, the novelty rag took advantage of new advances in piano-roll technology and the phonograph record to permit a more complex, pyrotechnic, performance-oriented style of rag to be heard. Chief among the novelty rag composers is Zez Confrey, whose "Kitten on the Keys" popularized the style in 1921. Ragtime also served as the roots for stride piano, a more improvisational piano style popular in the 1920s and 1930s. Elements of ragtime found their way into much of the American popular music of the early 20th century. It also played a central title: Music history of the United States in the late 19th century text: Music history of the United States in the late 19th century The latter part of the 19th century saw the increased popularization of African American music and the growth and maturity of folk styles like the blues. In the 1890s, more sophisticated African-American styles of the cakewalk and then ragtime music started to become popular. Originally associated primarily with poor African Americans, ragtime was quickly denounced as degenerate by conservatives and the classically trained establishment. In spite of the denigration, however, the style continued to gain widespread popularity and became mainstream; it was adopted by Tin Pan Alley at the