- Wilfrid Mellers,
- Walter Wells
- and Madeleine Ladell
Jazz and opera are generally viewed as separate traditions, too diverse in cultural origin to come together successfully. Yet throughout the 20th century both traditions have borrowed from each other, and have spawned a number of cross-breeds, which often find no home in either camp and end up on Broadway. In most cases musicians have tended to incorporate gestures rather than develop common ground.
Jazz, an amalgamation of tribal African musics with Euro-American styles, emerged at the beginning of the 20th century; created mainly by black musicians, it was essentially an urban American folk art. Aspirations to western art-music respectability came less from mainstream New Orleans jazz or blues musicians than from ragtime composers. This is not surprising, as ragtime itself is a hybrid of African rhythm and European harmony, and its best-known publicist, Scott Joplin, was trained by a German music teacher. Having started as an improvising bordello pianist, Joplin earned modest fame for his rag time compositions which he disseminated as sheet music. Gaining confidence from his success, he soon formed his own opera company, for whom he wrote ...