{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://arsc.aviaryplatform.com/iiif/6q1sf2mp4p/manifest","type":"Manifest","label":{"en":["Mama Do That Rag: the Rag in the Early Recorded Blues"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","metadata":[{"label":{"en":["Agent"]},"value":{"en":["Roberta Freund Schwartz (Presenter)","David N. Lewis (Chair)","Michael Biel (Videographer)","Leah Biel (Videographer)"]}},{"label":{"en":["Date"]},"value":{"en":["2016-05-13 (Created)"]}},{"label":{"en":["Format"]},"value":{"en":["Video","Audio","Slides"]}},{"label":{"en":["Description"]},"value":{"en":["\u003cp\u003eAmong the early recorded blues are a large number of rags: vocal pieces in a fast tempo with pronounced dance rhythms. The rag is frequently equated with ragtime, and while they share a number of characteristics, the relationship between the two isn’t entirely clear: which came first: the ragtime or the rag? Several early examples, such as Papa Charlie Jackson’s “Alabama Bound” demonstrate a process of adaptation from ragtime piano works, but recordings prevent compelling evidence that banjo rags are from an older tradition. These dance pieces, which have a distinctive eight or sixteen bar structure, were the common currency along the eastern seaboard and the rural south. Works like Blind Blake’s “West Coast Rag” retain references to square dance figures and other popular steps. During the mid-to late 1920s, blues dance numbers were nearly always rags, often in an expanded form that incorporated a four or eight bar refrain. The rhythmic drive and rhythms of the rag, as well as the expanded eight bar form, were adopted by hokum blues artists, early boogie woogie pianists, and ensembles well into the 1930s. The rag played an important role in the early recorded blues beyond its dance roots. The rag was the vehicle of choice for virtuosic instrumental displays, beginning with Sylvester Weaver’s “Guitar Rag.” Many early blues are in an eight bar form that is more closely related to the rag than “traditional” blues, and refrains in blues are derived from the expanded dance rag.\u003c/p\u003e"]}},{"label":{"en":["Language"]},"value":{"en":["English"]}},{"label":{"en":["Publisher"]},"value":{"en":["Association for Recorded Sound Collections"]}},{"label":{"en":["Rights Statement"]},"value":{"en":["\u003cp\u003eCopyright Association for Recorded Sound Collections\u003c/p\u003e"]}},{"label":{"en":["Video Editor"]},"value":{"en":["Nathan Georgitis"]}}],"summary":{"en":["\u003cp\u003eAmong the early recorded blues are a large number of rags: vocal pieces in a fast tempo with pronounced dance rhythms. The rag is frequently equated with ragtime, and while they share a number of characteristics, the relationship between the two isn\u0026rsquo;t entirely clear: which came first: the ragtime or the rag? Several early examples, such as Papa Charlie Jackson\u0026rsquo;s \u0026ldquo;Alabama Bound\u0026rdquo; demonstrate a process of adaptation from ragtime piano works, but recordings prevent compelling evidence that banjo rags are from an older tradition. These dance pieces, which have a distinctive eight or sixteen bar structure, were the common currency along the eastern seaboard and the rural south. Works like Blind Blake\u0026rsquo;s \u0026ldquo;West Coast Rag\u0026rdquo; retain references to square dance figures and other popular steps. During the mid-to late 1920s, blues dance numbers were nearly always rags, often in an expanded form that incorporated a four or eight bar refrain. The rhythmic drive and rhythms of the rag, as well as the expanded eight bar form, were adopted by hokum blues artists, early boogie woogie pianists, and ensembles well into the 1930s. The rag played an important role in the early recorded blues beyond its dance roots. The rag was the vehicle of choice for virtuosic instrumental displays, beginning with Sylvester Weaver\u0026rsquo;s \u0026ldquo;Guitar Rag.\u0026rdquo; Many early blues are in an eight bar form that is more closely related to the rag than \u0026ldquo;traditional\u0026rdquo; blues, and refrains in blues are derived from the expanded dance rag.\u003c/p\u003e"]},"requiredStatement":{"label":{"en":["Attribution"]},"value":{"en":["\u003cp\u003eCopyright Association for Recorded Sound Collections\u003c/p\u003e"]}},"provider":[{"id":"https://arsc.aviaryplatform.com/aboutus","type":"Agent","label":{"en":["Association for Recorded Sound Collections"]},"homepage":[{"id":"https://arsc.aviaryplatform.com/","type":"Text","label":{"en":["Association for Recorded Sound Collections"]},"format":"text/html"}],"logo":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","type":"Image"}]}],"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/097/734/small/open-uri20200922-6764-19qctz3_1600819759.jpg?1600805375","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29811/file/97734","type":"Canvas","label":{"en":["Media File 1 of 2 - open-uri20200922-6764-19qctz3.mp4"]},"duration":1905.152,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/097/734/small/open-uri20200922-6764-19qctz3_1600819759.jpg?1600805375","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29811/file/97734/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29811/file/97734/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/097/734/original/open-uri20200922-6764-19qctz3.mp4?1600805353","type":"Video","format":"video/mp4","duration":1905.152,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29811/file/97734","metadata":[]}]}],"annotations":[]},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29811/file/255800","type":"Canvas","label":{"en":["Media File 2 of 2 - ARSC_conf_2016_Schwartz_audio.mp3"]},"duration":1893.41538,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29811/file/255800/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29811/file/255800/content/2/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/255/800/original/ARSC_conf_2016_Schwartz_audio.mp3?1730756004","type":"Audio","format":"audio/mpeg","duration":1893.41538,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29811/file/255800","metadata":[]}]}],"annotations":[]}]}