Historia del Jazz III: El Ragtime, los tiempos se aceleran.

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Evoluciones y mixturas de la música popular

Por Trinidad López

Si hay un género que va a rivalizar con el blues, en cuanto a sus aportes al Jazz es sin duda el ragtime. Incluso en importancia, esté género que próspero en los 20´ fue incluso tan importante como el blues en la música popular del sur de los EE.UU.

Cómo señala Ted Gioia en su libro <<Historia del Jazz>>, “No en vano, en los comienzos del jazz de Nueva Orleans, la línea que separaba una actuación de ragtime y una de jazz era tan fina que ambos términos a menudo eran empleados de forma intercambiable”. Sólo el tiempo, y el estudio que han hecho los musicólogos ha permitido trazar distinciones entre ambos tipos de música, pero en el contexto de la música afroamericana de Nueva Orleans en el cambio de siglo, estas fronteras eran bastante borrosas.

Una de las figuras más relevantes de este género fue Scott Joplin, creador de una de las canciones icónicas del rag como el “Maple Leaf Rag”, fue un pianista que influenció a toda una generación de interpretes que, en palabras del historiador de la música Jelly Roll Morton, la diferencia entre los pianistas de jazz y ragtime de los años 30´ “eran de tipo muy fino”. Con esta frase, intentaba mostrar la delgada línea entre ambos géneros, sobre todo porque los pianistas de la época habían incorporado el ragtime en una buena parte de sus composiciones de jazz.

Los ritmos irregulares del ragtime aparecen impresos ya en la primera mitad del siglo XIX, pero suele considerarse a “Mississippi Rag” de William Krell (1897) como la primera pieza escrita de ragtime. Ese mismo año, Tom Turpin se convirtió en el primer compositor negro en publicar una pieza de ragtime “Harlem Rag”. Y dado que ambas piezas mantienen un estilo bien construido del sincopado característico del rag, es lo que hace suponer a los historiadores que este estilo ya venía en desarrollo desde varios años atrás.

Ese mismo año se publica también el método “Rag Time Instructor” de Ben Harney, cuya misión era pedagógica e intentaba inspirar a los pianistas para avivar el estudio y desarrollo de una música que estaba calando fuerte en el público local. Pero como suele pasar con la música, las fusiones y experimentaciones llevaron a que muchas piezas de este período emplearan la palabra rag en su título a pesar de presentar pocas similitudes con lo que se ha dado en conocer como estilo “clásico” del ragtime, del mismo modo en que numerosas composiciones llamadas blues se apartaban, a veces considerablemente, de la fórmula habitual en doce compases.

Aunque las composiciones de ragtime publicadas llegaron a incluir obras vocales y arreglos para bandas, el estilo alcanzó su máxima expresión como forma para piano solo. Ello no debería sorprendernos. En buena parte, la difusión de esta exultante nueva música vino de la mano de la creciente popularidad de los pianos en los hogares estadounidenses en torno a 1900. Para darnos una idea de este crecimiento, entre 1899 y 1910, la producción de pianos paso de cien mil piezas anuales a trescientos cincuenta mil, creando una industria de casi 300 empresas dedicadas a la producción de pianos.

Sorprendentemente, esta emanación sin precedentes del arte musical del ragtime se centró en un ámbito geográfico bastante reducido. Del mismo modo en que el blues rural floreció en la atmósfera enrarecida del delta del Mississippi y el primer jazz florecería más tarde en torno a Nueva Orleans, el primer ragtime alcanzó su cenit en el Missouri del cambio de siglo, en ciudades como Sedalia, Carthage y St. Louis. Además de brillantes músicos, se encontraron en estas ciudades un ambicioso grupo de compositores y editores musicales que advirtieron el extraordinario talento que tenían a su disposición, con lo cual, el ragtime cobró una importancia hasta entonces desconocida.

Sin dudas Scott Joplin fue una de las figuras más trascendentes de este estilo conocido como ragtime, el cual tuvo profunda influencia en el Jazz, pero para conocerla habrá que esperar hasta un nuevo capítulo, porque sus raíces son tan vastas que no alcanzan con unas pocas líneas.

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