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The leaves of a Beech tree.

3D rendering of a µCT scan of a leaf piece, resolution circa 40 µm/voxel.

Lichen Dolichousnea longissima. The photosynthetic appendages on the strands are leaf-like in appearance and function but ontogenically are not leaves.

A leaf is an organ of a vascular plant, as defined in botanical terms, and in particular in plant morphology. Foliage is a mass noun that refers to leaves as a feature of plants.^[1][2]

Typically a leaf is a thin, flattened organ borne above ground and specialized for photosynthesis, but many types of leaves are adapted in ways almost unrecognisable in those terms: some are not flat (for example many succulent leaves and conifers), some are not above ground (such as bulb scales), and some are without major photosynthetic function (consider for example cataphylls, spines, and cotyledons).

Conversely, many structures of non-vascular plants, or even of some lichens, which are not plants at all (in the sense of being members of the kingdom Plantae), do look and function much like leaves. Furthermore, several structures found in vascular plants look like leaves but are not actually leaves; they differ from leaves in their structures and origins. Examples include phyllodes, cladodes, and phylloclades.^[2]

General nature of leaves[link]

Typically leaves are flat and thin, thereby maximising the surface area directly exposed to light and promoting photosynthetic function. Externally they commonly are arranged on the plant in such ways as to expose their surfaces to light as efficiently as possible without shading each other, but there are many exceptions and complications; for instance plants adapted to windy conditions may have pendent leaves, such as in many willows and Eucalyptus.

Likewise, the internal organisation of most kinds of leaves has evolved to maximise exposure of the photosynthetic organelles, the chloroplasts, to light and to increase the absorption of carbon dioxide. Most leaves have stomata, which open or narrow to regulate the exchange of carbon dioxide, oxygen, and water vapour with the atmosphere.

In contrast however, some leaf forms are adapted to modulate the amount of light they absorb to avoid or mitigate excessive heat, ultraviolet damage, or desiccation, or to sacrifice light-absorption efficiency in favour of protection from herbivorous enemies. Among these forms the leaves of many xerophytes are conspicuous. For such plants their major constraint is not light flux or intensity, but heat, cold, drought, wind, herbivory, and various other hazards.^[3] Typical examples among such strategies are so-called window plants such as Fenestraria species, some Haworthia species such as Haworthia tesselata and Haworthia truncata^[4] and Bulbine mesembryanthemoides.^[5]

The shape and structure of leaves vary considerably from species to species of plant, depending largely on their adaptation to climate and available light, but also to other factors such as grazing animals, available nutrients, and ecological competition from other plants. Considerable changes in leaf type occur within species too, for example as a plant matures; as a case in point Eucalyptus species commonly have isobilateral, pendent leaves when mature and dominating their neighbours; however, such trees tend to have erect or horizontal dorsiventral leaves as seedlings, when their growth is limited by the available light.^[6] Other factors include the need to balance water loss at high temperature and low humidity against the need to absorb atmospheric carbon dioxide. In most plants leaves also are the primary organs responsible for transpiration and guttation.

Leaves can also store food and water, and are modified accordingly to meet these functions, for example in the leaves of succulent plants and in bulb scales. The concentration of photosynthetic structures in leaves requires that they are richer in protein, minerals, and sugars, than say, woody stem tissues. Accordingly leaves are prominent in the diet of many animals. This is true for humans, for whom leaf vegetables commonly are food staples.

A leaf shed in autumn.

Correspondingly, leaves represent heavy investment on the part of the plants bearing them, and their retention or disposition are the subject of elaborate strategies for dealing with pest pressures, seasonal conditions, and protective measures such as the growth of thorns and the production of phytoliths, lignins, tannins and poisons.

Deciduous plants in frigid or cold temperate regions typically shed their leaves in autumn, whereas in areas with a severe dry season, some plants may shed their leaves until the dry season ends. In either case the shed leaves may be expected to contribute their retained nutrients to the soil where they fall.

In contrast, many other non-seasonal plants, such as palms and conifers, retain their leaves for long periods; Welwitschia retains its two main leaves throughout a lifetime that may exceed a thousand years.

Not all plants have true leaves. Bryophytes (e.g., mosses and liverworts) are non-vascular plants, and, although they produce flattened, leaf-like structures that are rich in chlorophyll, these organs differ morphologically from the leaves of vascular plants; For one thing, they lack vascular tissue. Vascularised leaves first evolved following the Devonian period, when carbon dioxide concentration in the atmosphere dropped significantly. This occurred independently in two separate lineages of vascular plants: the microphylls of lycophytes and the euphylls ("true leaves") of ferns, gymnosperms, and angiosperms. Euphylls are also referred to as macrophylls or megaphylls ("large leaves").

Large-scale features (leaf morphology)[link]

A structurally complete leaf of an angiosperm consists of a petiole (leaf stalk), a lamina (leaf blade), and stipules (small structures located to either side of the base of the petiole). Not every species produces leaves with all of these structural components. In certain species, paired stipules are not obvious or are absent altogether. A petiole may be absent, or the blade may not be laminar (flattened). The tremendous variety shown in leaf structure (anatomy) from species to species is presented in detail below under morphology.

The petiole mechanically links the leaf to the plant and provides the route for transfer of water and sugars to and from the leaf. The lamina is typically the location of the majority of photosynthesis.

Anatomy[link]

This section requires expansion.

Medium scale features[link]

Leaves are normally extensively vascularised and are typically covered by a dense network of xylem, which supply water for photosynthesis, and phloem, which remove the sugars produced by photosynthesis. Many leaves are covered in trichomes (small hairs) which have a diverse range of structures and functions.

Small-scale features[link]

A leaf is a plant organ and is made up of a collection of tissues in a regular organisation. The major tissue systems present are:

1. The epidermis that covers the upper and lower surfaces
2. The mesophyll inside the leaf that is rich in chloroplasts (also called chlorenchyma)
3. The arrangement of veins (the vascular tissue)

These three tissue systems typically form a regular organisation at the cellular scale.

Major leaf tissues[link]

Epidermis[link]

SEM image of Nicotiana alata leaf's epidermis, showing trichomes (hair-like appendages) and stomata (eye-shaped slits, visible at full resolution).

The epidermis is the outer layer of cells covering the leaf. It forms the boundary separating the plant's inner cells from the external world. The epidermis serves several functions: protection against water loss by way of transpiration, regulation of gas exchange, secretion of metabolic compounds, and (in some species) absorption of water. Most leaves show dorsoventral anatomy: The upper (adaxial) and lower (abaxial) surfaces have somewhat different construction and may serve different functions.

The epidermis is usually transparent (epidermal cells lack chloroplasts) and coated on the outer side with a waxy cuticle that prevents water loss. The cuticle is in some cases thinner on the lower epidermis than on the upper epidermis, and is generally thicker on leaves from dry climates as compared with those from wet climates.

The epidermis tissue includes several differentiated cell types: epidermal cells, epidermal hair cells (trichomes) cells in the stomate complex; guard cells and subsidiary cells. The epidermal cells are the most numerous, largest, and least specialized and form the majority of the epidermis. These are typically more elongated in the leaves of monocots than in those of dicots.

The epidermis is covered with pores called stomata, part of a stoma complex consisting of a pore surrounded on each side by chloroplast-containing guard cells, and two to four subsidiary cells that lack chloroplasts. Opening and closing of the stoma complex regulates the exchange of gases and water vapor between the outside air and the interior of the leaf and plays an important role in allowing photosynthesis without letting the leaf dry out. In a typical leaf, the stomata are more numerous over the abaxial (lower) epidermis than the adaxial (upper) epidermis and more numerous in plants from cooler climates.

Mesophyll[link]

Most of the interior of the leaf between the upper and lower layers of epidermis is a parenchyma (ground tissue) or chlorenchyma tissue called the mesophyll (Greek for "middle leaf"). This assimilation tissue is the primary location of photosynthesis in the plant. The products of photosynthesis are called "assimilates".

In ferns and most flowering plants, the mesophyll is divided into two layers:

• An upper palisade layer of tightly packed, vertically elongated cells, one to two cells thick, directly beneath the adaxial epidermis. Its cells contain many more chloroplasts than the spongy layer. These long cylindrical cells are regularly arranged in one to five rows. Cylindrical cells, with the chloroplasts close to the walls of the cell, can take optimal advantage of light. The slight separation of the cells provides maximum absorption of carbon dioxide. This separation must be minimal to afford capillary action for water distribution. In order to adapt to their different environment (such as sun or shade), plants had to adapt this structure to obtain optimal result. Sun leaves have a multi-layered palisade layer, while shade leaves or older leaves closer to the soil are single-layered.
• Beneath the palisade layer is the spongy layer. The cells of the spongy layer are more rounded and not so tightly packed. There are large intercellular air spaces. These cells contain fewer chloroplasts than those of the palisade layer. The pores or stomata of the epidermis open into substomatal chambers, which are connected to the air spaces between the spongy layer cells.

These two different layers of the mesophyll are absent in many aquatic and marsh plants. Even an epidermis and a mesophyll may be lacking. Instead for their gaseous exchanges they use a homogeneous aerenchyma (thin-walled cells separated by large gas-filled spaces). Their stomata are situated at the upper surface.

Leaves are normally green in color, which comes from chlorophyll found in plastids in the chlorenchyma cells. Plants that lack chlorophyll cannot photosynthesize.

Veins[link]

The veins of a bramble leaf.

The veins are the vascular tissue of the leaf and are located in the spongy layer of the mesophyll. They are typical examples of pattern formation through ramification. The pattern of the veins is called venation.

The veins are made up of:

• Xylem: tubes that bring water and minerals from the roots into the leaf.
• Phloem: tubes that usually move sap, with dissolved sucrose, produced by photosynthesis in the leaf, out of the leaf.

The xylem typically lies on the adaxial side of the vascular bundle and the phloem typically lies on the abaxial side. Both are embedded in a dense parenchyma tissue, called the pith or sheath, which usually includes some structural collenchyma tissue.

Seasonal leaf loss[link]

Leaves shifting color in fall

Leaves in temperate, boreal, and seasonally dry zones may be seasonally deciduous (falling off or dying for the inclement season). This mechanism to shed leaves is called abscission. After the leaf is shed, a leaf scar develops on the twig. In cold autumns, they sometimes change color, and turn yellow, bright-orange, or red, as various accessory pigments (carotenoids and xanthophylls) are revealed when the tree responds to cold and reduced sunlight by curtailing chlorophyll production. Red anthocyanin pigments are now thought to be produced in the leaf as it dies, possibly to mask the yellow hue left when the chlorophyll is lost - yellow leaves appear to attract herbivores such as aphids.^[7]

Morphology[link]

The Citrus leaf is identified by the pores and pigments, as well as the margins.

External leaf characteristics (such as shape, margin, hairs, etc.) are important for identifying plant species, and botanists have developed a rich terminology for describing leaf characteristics. These structures are a part of what makes leaves determinant; they grow and achieve a specific pattern and shape, then stop. Other plant parts like stems or roots are non-determinant, and will usually continue to grow as long as they have the resources to do so.

Classification of leaves can occur through many different designative schema, and the type of leaf is usually characteristic of a species, although some species produce more than one type of leaf. The longest type of leaf is a leaf from palm trees, measuring at nine feet long. The terminology associated with the description of leaf morphology is presented, in illustrated form, at Wikibooks.

Basic types[link]

Leaves of the White Spruce (Picea glauca) are needle-shaped and their arrangement is spiral

• Ferns have fronds
• Conifer leaves are typically needle-, awl-, or scale-shaped
• Angiosperm (flowering plant) leaves: the standard form includes stipules, a petiole, and a lamina
• Lycophytes have microphyll leaves.
• Sheath leaves (type found in most grasses)
• Other specialized leaves (such as those of Nepenthes)

Arrangement on the stem[link]

Different terms are usually used to describe leaf placement (phyllotaxis):

The leaves on this plant are arranged in pairs opposite one another, with successive pairs at right angles to each other ("decussate") along the red stem. Note the developing buds in the axils of these leaves.

• Alternate – leaf attachments are singular at nodes, and leaves alternate direction, to a greater or lesser degree, along the stem.
• Opposite – Two structures, one on each opposite side of the stem, typically leaves, branches, or flower parts. Leaf attachments are paired at each node; decussate if, as typical, each successive pair is rotated 90° progressing along the stem; or distichous if not rotated, but two-ranked (in the same geometric flat-plane).
• Whorled – three or more leaves attach at each point or node on the stem. As with opposite leaves, successive whorls may or may not be decussate, rotated by half the angle between the leaves in the whorl (i.e., successive whorls of three rotated 60°, whorls of four rotated 45°, etc.). Opposite leaves may appear whorled near the tip of the stem.
• Rosulate – leaves form a rosette

As a stem grows, leaves tend to appear arranged around the stem in a way that optimizes yield of light. In essence, leaves form a helix pattern centered around the stem, either clockwise or counterclockwise, with (depending upon the species) the same angle of divergence. There is a regularity in these angles and they follow the numbers in a Fibonacci sequence: 1/2, 2/3, 3/5, 5/8, 8/13, 13/21, 21/34, 34/55, 55/89. This series tends to a limit close to 360° x 34/89 = 137.52 or 137° 30', an angle known in mathematics as the golden angle. In the series, the numerator indicates the number of complete turns or "gyres" until a leaf arrives at the initial position. The denominator indicates the number of leaves in the arrangement. This can be demonstrated by the following:

• alternate leaves have an angle of 180° (or 1/2)
• 120° (or 1/3) : three leaves in one circle
• 144° (or 2/5) : five leaves in two gyres
• 135° (or 3/8) : eight leaves in three gyres.

Divisions of the blade[link]

A leaf with laminar structure and pinnate venation

Two basic forms of leaves can be described considering the way the blade (lamina) is divided. A simple leaf has an undivided blade. However, the leaf shape may be formed of lobes, but the gaps between lobes do not reach to the main vein. A compound leaf has a fully subdivided blade, each leaflet of the blade separated along a main or secondary vein. Because each leaflet can appear to be a simple leaf, it is important to recognize where the petiole occurs to identify a compound leaf. Compound leaves are a characteristic of some families of higher plants, such as the Fabaceae. The middle vein of a compound leaf or a frond, when it is present, is called a rachis.

• Palmately compound leaves have the leaflets radiating from the end of the petiole, like fingers off the palm of a hand, e.g. Cannabis (hemp) and Aesculus (buckeyes).
• Pinnately compound leaves have the leaflets arranged along the main or mid-vein.
  • odd pinnate: with a terminal leaflet, e.g. Fraxinus (ash).
  • even pinnate: lacking a terminal leaflet, e.g. Swietenia (mahogany).
• Bipinnately compound leaves are twice divided: the leaflets are arranged along a secondary vein that is one of several branching off the rachis. Each leaflet is called a "pinnule". The pinnules on one secondary vein are called "pinna"; e.g. Albizia (silk tree).
• trifoliate (or trifoliolate): a pinnate leaf with just three leaflets, e.g. Trifolium (clover), Laburnum (laburnum).
• pinnatifid: pinnately dissected to the central vein, but with the leaflets not entirely separate, e.g. Polypodium, some Sorbus (whitebeams). In pinnately veined leaves the central vein in known as the midrib.

Characteristics of the petiole[link]

The overgrown petioles of Rhubarb (Rheum rhabarbarum) are edible.

Petiolated leaves have a petiole (leaf stem). Sessile leaves do not: The blade attaches directly to the stem. In clasping or decurrent leaves, the blade partially or wholly surrounds the stem, often giving the impression that the shoot grows through the leaf. When this is the case, the leaves are called "perfoliate", such as in Claytonia perfoliata. In peltate leaves, the petiole attaches to the blade inside from the blade margin.

In some Acacia species, such as the Koa Tree (Acacia koa), the petioles are expanded or broadened and function like leaf blades; these are called phyllodes. There may or may not be normal pinnate leaves at the tip of the phyllode.

A stipule, present on the leaves of many dicotyledons, is an appendage on each side at the base of the petiole resembling a small leaf. Stipules may be lasting and not be shed (a stipulate leaf, such as in roses and beans), or be shed as the leaf expands, leaving a stipule scar on the twig (an exstipulate leaf).

• The situation, arrangement, and structure of the stipules is called the "stipulation".
  • free
  • adnate : fused to the petiole base
  • ochreate : provided with ochrea, or sheath-formed stipules, e.g. rhubarb,
  • encircling the petiole base
  • interpetiolar : between the petioles of two opposite leaves.
  • intrapetiolar : between the petiole and the subtending stem

Venation[link]

Branching veins on underside of taro leaf

The venation within the bract of a Lime tree.

The lower epidermis of Tilia × europaea

Palmate-veined leaf

There are two subtypes of venation, namely, craspedodromous, where the major veins stretch up to the margin of the leaf, and camptodromous, when major veins extend close to the margin, but bend before they intersect with the margin.

• Feather-veined, reticulate (also called pinnate-netted, penniribbed, penninerved, or penniveined) – the veins arise pinnately from a single mid-vein and subdivide into veinlets. These, in turn, form a complicated network. This type of venation is typical for (but by no means limited to) dicotyledons.
• Three main veins branch at the base of the lamina and run essentially parallel subsequently, as in Ceanothus. A similar pattern (with 3-7 veins) is especially conspicuous in Melastomataceae.
• Palmate-netted, palmate-veined, fan-veined; several main veins diverge from near the leaf base where the petiole attaches, and radiate toward the edge of the leaf, e.g. most Acer (maples).
• Parallel-veined, parallel-ribbed, parallel-nerved, penniparallel – veins run parallel for the length of the leaf, from the base to the apex. Commissural veins (small veins) connect the major parallel veins. Typical for most monocotyledons, such as grasses.
• Dichotomous – There are no dominant bundles, with the veins forking regularly by pairs; found in Ginkgo and some pteridophytes.

Note that, although it is the more complex pattern, branching veins appear to be plesiomorphic and in some form were present in ancient seed plants as long as 250 million years ago. A pseudo-reticulate venation that is actually a highly modified penniparallel one is an autapomorphy of some Melanthiaceae, which are monocots, e.g. Paris quadrifolia (True-lover's Knot).

Morphology changes within a single plant[link]

• Homoblasty - Characteristic in which a plant has small changes in leaf size, shape, and growth habit between juvenile and adult stages.
• Heteroblasty - Characteristic in which a plant has marked changes in leaf size, shape, and growth habit between juvenile and adult stages.

Terminology[link]

Chart illustrating some leaf morphology terms

A portion of a coriander leaf

Shape[link]

Edge (margin)[link]

• ciliate: fringed with hairs
• crenate: wavy-toothed; dentate with rounded teeth, such as Fagus (beech)
• crenulate finely or shallowly crenate
• dentate: toothed, such as Castanea (chestnut)
  • coarse-toothed: with large teeth
  • glandular toothed: with teeth that bear glands.
• denticulate: finely toothed
• doubly toothed: each tooth bearing smaller teeth, such as Ulmus (elm)
• entire: even; with a smooth margin; without toothing
• lobate: indented, with the indentations not reaching to the center, such as many Quercus (oaks)
  • palmately lobed: indented with the indentations reaching to the center, such as Humulus (hop).
• serrate: saw-toothed with asymmetrical teeth pointing forward, such as Urtica (nettle)
• serrulate: finely serrate
• sinuate: with deep, wave-like indentations; coarsely crenate, such as many Rumex (docks)
• spiny or pungent: with stiff, sharp points, such as some Ilex (hollies) and Cirsium (thistles).

Tip[link]

Leaves showing various morphologies. Clockwise from upper left: tripartite lobation, elliptic with serrulate margin, peltate with palmate venation, acuminate odd-pinnate (center), pinnatisect, lobed, elliptic with entire margin

• acuminate: long-pointed, prolonged into a narrow, tapering point in a concave manner.
• acute: ending in a sharp, but not prolonged point
• cuspidate: with a sharp, elongated, rigid tip; tipped with a cusp.
• emarginate: indented, with a shallow notch at the tip.
• mucronate: abruptly tipped with a small short point, as a continuation of the midrib; tipped with a mucro.
• mucronulate: mucronate, but with a smaller spine.
• obcordate: inversely heart-shaped, deeply notched at the top.
• obtuse: rounded or blunt
• truncate: ending abruptly with a flat end, that looks cut off.

Base[link]

• acuminate: coming to a sharp, narrow, prolonged point.
• acute: coming to a sharp, but not prolonged point.
• auriculate: ear-shaped.
• cordate: heart-shaped with the notch towards the stalk.
• cuneate: wedge-shaped.
• hastate: shaped like an halberd and with the basal lobes pointing outward.
• oblique: slanting.
• reniform: kidney-shaped but rounder and broader than long.
• rounded: curving shape.
• sagittate: shaped like an arrowhead and with the acute basal lobes pointing downward.
• truncate: ending abruptly with a flat end, that looks cut off.

Surface[link]

• farinose: bearing farina; mealy, covered with a waxy, whitish powder.
• glabrous: smooth, not hairy.
• glaucous: with a whitish bloom; covered with a very fine, bluish-white powder.
• glutinous: sticky, viscid.
• papillate, or papillose: bearing papillae (minute, nipple-shaped protuberances).
• pubescent: covered with erect hairs (especially soft and short ones).
• punctate: marked with dots; dotted with depressions or with translucent glands or colored dots.
• rugose: deeply wrinkled; with veins clearly visible.
• scurfy: covered with tiny, broad scalelike particles.
• tuberculate: covered with tubercles; covered with warty prominences.
• verrucose: warted, with warty outgrowths.
• viscid, or viscous: covered with thick, sticky secretions.

The leaf surface is also host to a large variety of microorganisms; in this context it is referred to as the phyllosphere.

Hairiness[link]

Common Mullein (Verbascum thapsus) leaves are covered in dense, stellate trichomes.

Scanning electron microscope image of trichomes on the lower surface of a Coleus blumei (coleus) leaf.

"Hairs" on plants are properly called trichomes. Leaves can show several degrees of hairiness. The meaning of several of the following terms can overlap.

• arachnoid, or arachnose: with many fine, entangled hairs giving a cobwebby appearance.
• barbellate: with finely barbed hairs (barbellae).
• bearded: with long, stiff hairs.
• bristly: with stiff hair-like prickles.
• canescent: hoary with dense grayish-white pubescence.
• ciliate: marginally fringed with short hairs (cilia).
• ciliolate: minutely ciliate.
• floccose: with flocks of soft, woolly hairs, which tend to rub off.
• glabrescent: losing hairs with age.
• glabrous: no hairs of any kind present.
• glandular: with a gland at the tip of the hair.
• hirsute: with rather rough or stiff hairs.
• hispid: with rigid, bristly hairs.
• hispidulous: minutely hispid.
• hoary: with a fine, close grayish-white pubescence.
• lanate, or lanose: with woolly hairs.
• pilose: with soft, clearly separated hairs.
• puberulent, or puberulous: with fine, minute hairs.
• pubescent: with soft, short and erect hairs.
• scabrous, or scabrid: rough to the touch.
• sericeous: silky appearance through fine, straight and appressed (lying close and flat) hairs.
• silky: with adpressed, soft and straight pubescence.
• stellate, or stelliform: with star-shaped hairs.
• strigose: with appressed, sharp, straight and stiff hairs.
• tomentose: densely pubescent with matted, soft white woolly hairs.
  • cano-tomentose: between canescent and tomentose.
  • felted-tomentose: woolly and matted with curly hairs.
• tomentulose: minutely or only slightly tomentose.
• villous: with long and soft hairs, usually curved.
• woolly:' with long, soft and tortuous or matted hairs.

Adaptations[link]

The embedded lists in this article may contain items that are not encyclopedic. Please help out by removing such elements and incorporating appropriate items into the main body of the article. (February 2008)

Poinsettia bracts are leaves which have evolved red pigmentation in order to attract insects and birds to the central flowers, an adaptive function normally served by petals (which are themselves leaves highly modified by evolution).

In the course of evolution, leaves have adapted to different environments in the following ways:

• A certain surface structure avoids moistening by rain and contamination (See Lotus effect).
• Sliced leaves reduce wind resistance.
• Hairs on the leaf surface trap humidity in dry climates and create a boundary layer reducing water loss.
• Waxy leaf surfaces reduce water loss.
• Large surface area provides large area for sunlight and shade for plant to minimize heating and reduce water loss.
• In more or less opaque or buried in the soil leaves, translucent windows filter the light before the photosynthesis takes place at the inner leaf surfaces (e.g. Fenestraria).
• Succulent leaves store water and organic acids for use in CAM photosynthesis.
• Aromatic oils, poisons or pheromones produced by leaf borne glands deter herbivores (e.g. eucalypts).
• Inclusions of crystalline minerals deter herbivores (e.g. silica phytoliths in grasses, raphides in Araceae).
• Petals attracts pollinators.
• Spines protect the plants (e.g. cacti).
• Insect traps feed the plants directly (see carnivorous plants).
• Bulbs store food and water (e.g. onions).
• Tendrils allow the plant to climb (e.g. peas).
• Bracts and pseudanthia (false flowers) replace normal flower structures when the true flowers are greatly reduced (e.g. Spurges).

Interactions with other organisms[link]

Some insects mimic leaves (Kallima inachus shown)

A girl playing with leaves

Leaf after being eaten by Caterpillar

Dew on a leaf

Although not as nutritious as other organs such as fruit, leaves provide a food source for many organisms. Animals which eat leaves are known as folivores. The leaf is one of the most vital parts of the plant, and plants have evolved protection against folivores such as tannins, chemicals which hinder the digestion of proteins and have an unpleasant taste.

Some animals have cryptic adaptations to avoid their own predators. For example, some caterpillars will create a small home in the leaf by folding it over themselves, while other herbivores and their prey mimic the appearance of the leaf. Some insects, such as the katydid, take this even further, moving from side to side much like a leaf does in the wind.

Bibliography[link]

• Leaves: The formation, charactistics and uses of hundred of leaves in all parts of the world by Ghillean Tolmie Prance. 324 photographic plates in black and white, and colour by Kjell B Sandved 256 pages^[8]

Footnotes[link]

See also[link]

• Abscission – loss of leaves
• Cladode - a flattened photsynthetic stem, if very leaf-like then it is called a Phylloclade
• Cladophyll – a stem-like leaf part (synonym: phyllode)
• Evolution of leaves
• Guttation – beads of fluid forming at leaf margins
• Leaf area index
• Leaf protein concentrate
• Leaf Sensor – a device that measures the moisture level in plant leaves
• Vernation – sprouting of leaves, also the arrangement of leaves in the bud

External links[link]

• Media related to Leaves at Wikimedia Commons
• The Wiktionary entry for leaf
• VASCULAR PLANT SYSTEMATICS Section B. General Characters and Character States: Position and Arrangement
• Science aid: Leaf Leaf structure and transpiration resource for teens.

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Scott Joplin
Scott Joplin in June 1903. This picture also appears on the cover of The Cascades from 1904.[1]
Background information
Birth name	Scott Joplin
Born	ca. late 1867 or early 1868 Northeast Texas
Origin	Texarkana, Texas
Died	April 1, 1917 (aged 49) New York City, New York
Genres	Ragtime, march, waltz
Occupations	Composer, pianist, music teacher
Instruments	Piano, guitar, mandolin, cornet, violin, banjo, vocals
Years active	1895–1917

The signature of Scott Joplin.

Scott Joplin (ca. 1867/1868? – April 1, 1917) was an American composer and pianist. Joplin achieved fame for his ragtime compositions, and was later dubbed "The King of Ragtime". During his brief career, Joplin wrote 44 original ragtime pieces, one ragtime ballet, and two operas. One of his first pieces, the Maple Leaf Rag, became ragtime's first and most influential hit, and has been recognized as the archetypal rag.

Joplin was born into a musical African American family of laborers in Northeast Texas, and developed his musical knowledge with the help of local teachers, most notably Julius Weiss. Joplin grew up in Texarkana, where he formed a vocal quartet, and taught mandolin and guitar. During the late 1880s he left his job as a laborer with the railroad, and travelled around the American South as an itinerant musician. He went to Chicago for the World's Fair of 1893, which played a major part in making ragtime a national craze by 1897.

Joplin moved to Sedalia, Missouri in 1894, and earned a living teaching piano and going on tour across the Southern US. In Sedalia, he taught future ragtime composers Arthur Marshall, Scott Hayden and Brun Campbell. Joplin began publishing music in 1895, and publication of his Maple Leaf Rag in 1899 brought him fame and had a profound influence on subsequent writers of ragtime. It also brought the composer a steady income for life. During his lifetime, Joplin did not reach this level of success again and frequently had financial problems.

Joplin moved to St. Louis in 1901, where he continued to compose and publish music, and regularly performed in brothels and bars in the city's red-light district. By the time he had moved to St. Louis, Joplin may have been experiencing discoordination of the fingers, tremors, and an inability to speak clearly, as a result of having contracted syphilis. The score to his first opera, A Guest of Honor, was confiscated in 1903 with his belongings due to his non-payment of bills, and is considered lost.

He continued to compose and publish music, and in 1907 moved to New York City, seeking to find a producer for a new opera. He attempted to go beyond the limitations of the musical form which made him famous, without much monetary success. His second opera, Treemonisha, was not received well at its partially staged performance in 1915.

In 1916, suffering from tertiary syphilis and by consequence rapidly deteriorating health, Joplin descended into dementia. He was admitted to a mental institution in January 1917, and died there three months later at the age of 49.

Joplin's music was rediscovered and returned to popularity in the early 1970s with the release of a million-selling album of Joplin's rags recorded by Joshua Rifkin, followed by the Academy Award–winning movie The Sting which featured several of his compositions, such as "The Entertainer". The opera Treemonisha was finally produced in full to wide acclaim in 1972. In 1976, Joplin was posthumously awarded a Pulitzer Prize.

Early life[link]

Joplin was born in Northeast Texas in 1867, just outside of Texarkana. Joplin was the second of six children born to Giles Joplin, an ex-slave from North Carolina, and Florence Givens, a freeborn African American woman from Kentucky.^[2][3][4] Although for many years his birth date was accepted as November 24, 1868, research has revealed that this is almost certainly inaccurate – the most likely approximate date being the second half of 1867.^[5] The Joplins subsequently moved to Texarkana where Giles worked as a laborer for the railroad while Florence was a cleaner. Joplin was given a rudimentary musical education by his family and from the age of seven he was allowed to play piano while his mother cleaned.^[6]

At some point in the early 1880s, Giles Joplin left the family for another woman, leaving Florence to provide for her children through domestic work. Biographer Susan Curtis speculated that his mother's support of Joplin's musical education was an important causal factor in this separation; his father argued that it took the boy away from practical employment which would have supplemented the family income.^[7]

According to a family friend, the young Joplin was serious and ambitious studying music and playing the piano after school. While a few local teachers aided him, he received most of his serious music education from Julius Weiss, a German-Jewish music professor who had immigrated to the United States from Germany.^[8] Weiss had studied music at a university in Germany and was listed in town records as a "Professor of music." Impressed by Joplin's talent, and realizing his family's dire straits, Weiss taught him free of charge. He tutored the 11-year-old Joplin until he was 16, during which time he introduced him to folk and classical music, including opera. Weiss helped Joplin appreciate music as an "art as well as an entertainment"^[9] and helped his mother acquire a used piano. According to his wife Lottie, Joplin never forgot Weiss and in his later years, when he achieved fame as a composer, sent his former teacher "gifts of money when he was old and ill," until Weiss died.^[8] At the age of 16 Joplin performed in a vocal quartet with three other boys in and around Texarkana, playing piano. In addition he taught guitar and mandolin.^[9]

Life in the Southern states and Chicago[link]

In the late 1880s, having performed at various local events as a teenager, Joplin chose to give up work as a laborer with the railroad and left Texarkana to become a traveling musician.^[10] Little is known about his movements at this time, although he is recorded in Texarkana in July 1891 as a member of the "Texarkana Minstrels" in a performance that happened to be raising money for a monument to Jefferson Davis, President of the Southern Confederacy.^[11] He was soon to discover that there were few opportunities for black pianists, however; besides the church, brothels were one of the few options for obtaining steady work. Joplin played pre-ragtime 'jig-piano' in various red-light districts throughout the mid-South, and it has been claimed he was in Sedalia and St. Louis during this time.^[12][13]

In 1893 Joplin was in Chicago for the World's Fair. While in Chicago, he formed his first band playing cornet and began arranging music for the group to perform. Although the World's Fair minimised the involvement of African-Americans, black performers still came to the saloons, cafés and brothels that lined the fair. The exposition was attended by 27 million Americans and had a profound effect on many areas of American cultural life, including ragtime. Although specific information is sparse, numerous sources have credited the Chicago World Fair with spreading the popularity of ragtime.^[14] Joplin found that his music, as well as that of other black performers, was popular with visitors.^[15] By 1897 ragtime had become a national craze in American cities, and was described by the St. Louis Dispatch as "a veritable call of the wild, which mightily stirred the pulses of city bred people."^[16]

Life in Missouri[link]

	A 1906 recording of the "Maple Leaf Rag" by the United States Marine Band. This is the first surviving recording of the "Maple Leaf Rag"[17][18][19][20]
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In 1894 Joplin arrived in Sedalia, Missouri. At first, Joplin stayed with the family of Arthur Marshall, at the time a 13-year old boy but later one of Joplin's students and a rag-time composer in his own right.^[21] There is no record of Joplin having a permanent residence in the town until 1904, as Joplin was making a living as a touring musician.

Front cover of the third edition of the "Maple Leaf Rag" sheet music

There is little precise evidence known about Joplin's activities at this time, although he performed as a solo musician at dances and at the major black clubs in Sedalia, the "Black 400" club and the "Maple Leaf Club". He performed in the Queen City Cornet Band, and his own six-piece dance orchestra. A tour with his own singing group, the Texas Medley Quartet, gave him his first opportunity to publish his own compositions and it is known that he went to Syracuse, New York and Texas. Two businessmen from New York published Joplin's first two works, the songs Please Say You Will, and A Picture of her Face in 1895.^[22] Joplin's visit to Temple, Texas enabled him to have three pieces published there in 1896, including the Crush Collision March which commemorated a planned train crash on the Missouri-Kansas-Texas Railroad on September 15 which he may have witnessed. The March was described by one of Joplin's biographers as a "special... early essay in ragtime".^[23] While in Sedalia he was teaching piano to students who included future ragtime composers Arthur Marshall, Brun Campbell, and Scott Hayden.^[24] In turn, Joplin enrolled at the George R. Smith College, where he apparently studied "advanced harmony and composition". The College records were destroyed in a fire in 1925,^[25] and biographer Edward A. Berlin notes that it was unlikely that a small college for African-Americans would be able to provide such a course.^[26][27][28]

In 1899, Joplin married Belle, the sister-in-law of collaborator Scott Hayden. Although there were hundreds of rags in print by the time the Maple Leaf Rag was published, Joplin was not far behind. His first published rag, Original Rags, had been completed in 1897, the same year as the first ragtime work in print, the Mississippi Rag by William Krell. The Maple Leaf Rag was likely to have been known in Sedalia before its publication in 1899; Brun Campbell claimed to have seen the manuscript of the work in around 1898.^[29] The exact circumstances which led to the Maple Leaf Rag's publication are unknown, and there are a number of different versions of the event which contradict each other. After several unsuccessful approaches to publishers, Joplin signed a contract on 10 August 1899 with John Stillwell Stark, a retailer of musical instruments who later became his most important publisher. The contract stipulated that Joplin would receive a 1% royalty on all sales of the rag, with a minimum sales price of 25 cents.^[30] It is possible that the rag was named after the Maple Leaf Club, although there is no direct evidence to prove the link, and there were many other possible sources for the name in and around Sedalia at the time.^[31]

Scott Joplin House in St Louis, Missouri

There have been many claims about the sales of the Maple Leaf Rag, for example that Joplin was the first musician to sell 1 million copies of a piece of instrumental music.^[28] Joplin's first biographer, Rudi Blesh wrote that during its first six months the piece sold 75,000 copies, and became "the first great instrumental sheet music hit in America".^[32] However, research by Joplin's later biographer Edward A. Berlin demonstrated that this was not the case; the initial print-run of 400 took one year to sell, and under the terms of Joplin's contract with a 1% royalty would have given Joplin an income of $4 (or approximately $112 at current prices). Later sales were steady and would have given Joplin an income which would have covered his expenses; in 1909 estimated sales would have given him an income of $600 annually (approximately $15,520 in current prices).^[33]

The Maple Leaf Rag did serve as a model for the hundreds of rags to come from future composers, especially in the development of classic ragtime.^[34] After the publication of the Maple Leaf Rag, Joplin was soon being described as "King of rag time writers", not least by himself^[35] on the covers of his own work, such as "The Easy Winners" and Elite Syncopations.

After the Joplins' move to St. Louis in early 1900, they had a baby daughter who died only a few months after birth. Joplin's relationship with his wife was difficult as she had no interest in music. They eventually separated and then divorced.^[36] About this time, Joplin collaborated with Scott Hayden in the composition of four rags.^[37] It was in St. Louis that Joplin produced some of his best-known works, including The Entertainer, March Majestic, and the short theatrical work The Ragtime Dance.

In June 1904, Joplin married Freddie Alexander of Little Rock, Arkansas, the young woman to whom he had dedicated The Chrysanthemum. She died on September 10, 1904 of complications resulting from a cold, ten weeks after their wedding.^[35] Joplin's first work copyrighted after Freddie's death, Bethena, was described by one biographer as "an enchantingly beautiful piece that is among the greatest of ragtime waltzes".^[38]

During this time, Joplin created an opera company of 30 people and produced his first opera A Guest of Honor for a national tour. It is not certain how many productions were staged, or even if this was an all-black show or a racially mixed production. During the tour, either in Springfield, Illinois, or Pittsburg, Kansas, someone associated with the company stole the box office receipts. Joplin could not meet the company's payroll or pay for its lodgings at a theatrical boarding house. It is believed that the score for A Guest of Honor was lost and perhaps destroyed because of non-payment of the company's boarding house bill.^[39]

Later years[link]

Front cover of the "Wall Street Rag" (1909) sheet music

In 1907, Joplin moved to New York City, which he believed was the best place to find a producer for a new opera. After his move to New York, Joplin met Lottie Stokes, whom he married in 1909.^[37] In 1911, unable to find a publisher, Joplin undertook the financial burden of publishing Treemonisha himself in piano-vocal format. In 1915, as a last-ditch effort to see it performed, he invited a small audience to hear it at a rehearsal hall in Harlem. Poorly staged and with only Joplin on piano accompaniment, it was "a miserable failure", the public being not yet ready for "crude" black musical forms, so different from the style of European grand opera of that time.^[40] The audience, including potential backers, was indifferent and walked out.^[36] Scott writes that "after a disastrous single performance ... Joplin suffered a breakdown. He was bankrupt, discouraged, and worn out." He concludes that few American artists of his generation faced such obstacles: "Treemonisha went unnoticed and unreviewed, largely because Joplin had abandoned commercial music in favor of art music, a field closed to African Americans."^[24] In fact, it was not until the 1970s that the opera received a full theatrical staging.

In 1914, Joplin and Lottie self-published his "Magnetic Rag" using the name the "Scott Joplin Music Company" which had been formed the previous December.^[41] Biographer Vera Brodsky Lawrence speculates that Joplin was aware of his advancing deterioration due to syphilis and was "consciously racing against time." In her sleeve notes on the 1992 Deutsche Grammophon release of Treemonisha she notes that he "plunged feverishly into the task of orchestrating his opera, day and night, with his friend Sam Patterson standing by to copy out the parts, page by page, as each page of the full score was completed."^[40]

Death[link]

By 1916, Joplin was suffering from tertiary syphilis and a resulting descent into madness.^[42][43] In January 1917, he was admitted to Manhattan State Hospital, a mental institution.^[35] He died there on April 1, 1917 of dementia.^[40][44] After Joplin's death at the age of just 49, from advanced syphilis, he was buried in a pauper's grave that remained unmarked for 57 years. His grave at Saint Michaels Cemetery in East Elmhurst was finally given a marker in 1974.^[45]

Works[link]

	Maple Leaf Rag played by a Wikipedian in 2008 The Entertainer played by a Wikipedian
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The combination of classical music, the musical atmosphere present around Texarkana (including work songs, gospel hymns, spirituals and dance music) and Joplin's natural ability has been cited as contributing significantly to the invention of a new style which blended both African-American musical styles with European forms and melodies, and which first became celebrated in the 1890s: ragtime.^[7]

When Joplin was learning the piano, serious musical circles condemned ragtime because of its association with the vulgar and inane songs "cranked out by the tune-smiths of Tin Pan Alley."^[46] As a composer Joplin refined ragtime, elevating it above the low and unrefined form played by the "wandering honky-tonk pianists... playing mere dance music" of popular imagination.^[47] This new art form, the classic rag, combined Afro-American folk music's syncopation and nineteenth-century European romanticism, with its harmonic schemes and its march-like tempos.^[37][48] In the words of one critic, "ragtime was basically... an Afro-American version of the polka, or its analog, the Sousa-style march."^[49] With this as a foundation, Joplin intended his compositions to be played exactly as he wrote them – without improvisation.^[24] Joplin wrote his rags as "classical" music in miniature form in order to raise ragtime above its "cheap bordello" origins and produced work which opera historian Elise Kirk described as "...more tuneful, contrapuntal, infectious, and harmonically colorful than any others of his era."^[12]

It has been speculated that Joplin's achievements were influenced by his classically trained German music teacher Julius Weiss, who may have brought a polka rhythmic sensibility from the old country to the 11-year old Joplin.^[50] As Curtis put it "The educated German could open up the door to a world of learning and music of which young Joplin was largely unaware."^[46]

Joplin's first, and most significant hit, the "Maple Leaf Rag", was described as the "archetype" of the classic rag, influencing subsequent rag composers for at least 12 years after its initial publication thanks to its rhythmic patterns, melody lines, and harmony,^[34] although with the exception of Joseph Lamb they generally failed to enlarge upon it.^[51]

[edit] Treemonisha

Treemonisha (1911)

The opera's setting is a former slave community in an isolated forest near Joplin's childhood town Texarkana in September 1884. The plot centers on an 18 year old woman Treemonisha who is taught to read by a white woman, and then leads her community against the influence of conjurers who prey on ignorance and superstition. Treemonisha is abducted and is about to be thrown into a wasps' nest when her friend Remus rescues her. The community realizes the value of education and the liability of their ignorance before choosing her as their teacher and leader.^[52][53][54]

Joplin wrote both the score and the libretto for the opera, which largely follows the form of European opera with many conventional arias, ensembles and choruses. In addition the themes of superstition and mysticism which are evident in Treemonisha are common in the operatic tradition, and certain aspects of the plot echo devices in the work of the German composer Richard Wagner (of which Joplin was aware); a sacred tree under which Treemonisha is found recalls the tree from which Siegmund takes his enchanted sword in Die Walküre, and the retelling of the heroine's origins echos aspects of the opera Siegfried. In addition, African-American folk tales also influence the story, with the wasp nest incident being similar to the story of Br'er Rabbit and the briar patch.^[55]

Treemonisha is not a ragtime opera because Joplin employed the styles of ragtime and other black music sparingly, using them to convey "racial character", and to celebrate the music of his childhood at the end of the 19th century. The opera has been seen as a valuable record of rural black music from late 19th century re-created by a "skilled and sensitive participant".^[56]

Berlin speculates about parallels between the plot and Joplin's own life. He notes that Lottie Joplin (the composer's third wife) saw a connection between the character Treemonisha's wish to lead her people out of ignorance, and a similar desire in the composer. In addition, it has been speculated that Treemonisha represents Freddie, Joplin's second wife, because the date of the opera's setting was likely to have been the month of her birth.^[57]

At the time of the opera's publication in 1911, the American Musician and Art Journal praised it as "an entirely new form of operatic art".^[58] Later critics have also praised the opera as occupying a special place in American history, with its heroine "a startlingly early voice for modern civil rights causes, notably the importance of education and knowledge to African American advancement."^[59] Curtis's conclusion is similar: "In the end, Treemonisha offered a celebration of literacy, learning, hard work, and community solidarity as the best formula for advancing the race."^[54] Berlin describes it as a "fine opera, certainly more interesting than most operas then being written in the United States", but later states that Joplin's own libretto showed the composer "was not a competent dramatist" with the book not up to the same quality as the music.^[60]

Performance skills[link]

	"Pleasant Moments – Ragtime Waltz" – played by Scott Joplin (April 1916) An April 1916 Piano Roll recording of Scott Joplin. Thought lost until discovered by a collector in New Zealand in 2006.[61] "Maple Leaf Rag" – played by Scott Joplin (June 1916) A June 1916 Piano Roll recording of Scott Joplin for The Aeolian Company.
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Joplin's skills as a pianist were described in glowing terms by a Sedalia newspaper in 1898, and fellow ragtime composers Arthur Marshall and Joe Jordan both said that he played the instrument well.^[37] However, the son of publisher John Stark stated that Joplin was a rather mediocre pianist and that he composed on paper, rather than at the piano. Artie Matthews recalled the "delight" the St. Louis players took in outplaying Joplin.^[62]

While Joplin never made an audio recording, his playing is preserved on seven piano rolls for use in mechanical player pianos. All seven were made in 1916. Of these, the six released under the Connorized label show evidence of significant editing,^[63] probably by William Axtmann, the staff arranger at Connorized.^[64] Berlin theorizes that by the time Joplin reached St. Louis he may have been experiencing discoordination of the fingers, tremors and an inability to speak clearly, symptoms of syphilis, the disease that took his life in 1917.^[65] The second roll recording of "Maple Leaf Rag" on the UniRecord label from June 1916 was described by biographer Blesh as "... shocking... disorganized and completely distressing to hear."^[66] While there is disagreement among piano-roll experts about the accuracy of the reproduction of a player's performance,^{[67][68][69][70]} Berlin notes that the "Maple Leaf Rag" roll was "painfully bad" and likely to be the truest record of Joplin's playing at the time. The roll, however, does not reflect his abilities earlier in life.^[63]

Legacy[link]

Nonpareil (1907)

Joplin and his fellow ragtime composers rejuvenated American popular music, fostering an appreciation for African American music among European Americans by creating exhilarating and liberating dance tunes, changing American musical taste. "Its syncopation and rhythmic drive gave it a vitality and freshness attractive to young urban audiences indifferent to Victorian proprieties... Joplin's ragtime expressed the intensity and energy of a modern urban America."^[24]

Joshua Rifkin, a leading Joplin recording artist, wrote that "a pervasive sense of lyricism infuses his work, and even at his most high-spirited, he cannot repress a hint of melancholy or adversity... He had little in common with the fast and flashy school of ragtime that grew up after him."^[71] Joplin historian Bill Ryerson adds that "In the hands of authentic practitioners like Joplin, ragtime was a disciplined form capable of astonishing variety and subtlety... Joplin did for the rag what Chopin did for the mazurka. His style ranged from tones of torment to stunning serenades that incorporated the bolero and the tango."^[36] Biographer Susan Curtis wrote that Joplin's music had helped to "revolutionise American music and culture" by removing Victorian restraint.^[72]

Composer and actor Max Morath found it striking that the vast majority of Joplin's work did not enjoy the popularity of the Maple Leaf Rag, because while the compositions were "of increasing lyrical beauty and delicate syncopation" they remained "obscure" and "unheralded" during his lifetime.^[51] Joplin apparently realized that his music was ahead of its time: As music historian Ian Whitcomb mentions that Joplin "opined that Maple Leaf Rag would make him 'King of Ragtime Composers' but he also knew that he would not be a pop hero in his own lifetime. 'When I'm dead twenty-five years, people are going to recognize me,' he told a friend." Just over thirty years later he was recognized, and later historian Rudi Blesh would write a large book about ragtime, which he dedicated to the memory of Joplin.^[47]

Although he was penniless and disappointed at the end of his life, Joplin set the standard for ragtime compositions and played a key role in the development of ragtime music. And as a pioneer composer and performer, he helped pave the way for young black artists to reach American audiences of both races. After his death, jazz historian Floyd Levin noted: "those few who realized his greatness bowed their heads in sorrow. This was the passing of the king of all ragtime writers, the man who gave America a genuine native music."^[73]

Revival[link]

After his death in 1917, Joplin's music and ragtime in general waned in popularity as new forms of musical styles, such as jazz and novelty piano, emerged. Even so, jazz bands and recording artists such as Tommy Dorsey in 1936, Jelly Roll Morton in 1939 and J. Russell Robinson in 1947 released recordings of Joplin compositions. "Maple Leaf Rag" was the Joplin piece found most often on 78 rpm records.^[74]

In the 1960s, a small-scale reawakening of interest in classic ragtime was underway among some American music scholars such as Trebor Tichenor, William Bolcom, William Albright and Rudi Blesh. Audiophile Records released a two record set, The Complete Piano Works of Scott Joplin, The Greatest of Ragtime Composers, performed by Knocky Parker, in 1970.^[75]

In 1968, Bolcom and Albright interested Joshua Rifkin, a young musicologist, in the body of Joplin's work. Together, they hosted an occasional ragtime-and-early-jazz evening on WBAI radio.^[76] In November 1970, Rifkin released a recording called Scott Joplin: Piano Rags^[77] on the classical label Nonesuch. It sold 100,000 copies in its first year and eventually became Nonesuch's first million-selling record.^[78] The Billboard "Best-Selling Classical LPs" chart for September 28, 1974 has the record at number 5, with the follow-up "Volume 2" at number 4, and a combined set of both volumes at number 3. Separately both volumes had been on the chart for 64 weeks. In the top 7 spots on that chart, 6 of the entries were recordings of Joplin's work, three of which were Rifkin's.^[79] Record stores found themselves for the first time putting ragtime in the classical music section. The album was nominated in 1971 for two Grammy Award categories: Best Album Notes and Best Instrumental Soloist Performance (without orchestra). Rifkin was also under consideration for a third Grammy for a recording not related to Joplin, but at the ceremony on March 14, 1972, Rifkin did not win in any category.^[80] He did a tour in 1974, which included appearances on BBC Television and a sell-out concert at London's Royal Festival Hall.^[81] In 1979 Alan Rich in the New York Magazine wrote that by giving artists like Rifkin the opportunity to put Joplin's music on disk Nonesuch Records "created, almost alone, the Scott Joplin revival."^[82]

In January 1971, Harold C. Schonberg, music critic at the New York Times, having just heard the Rifkin album, wrote a featured Sunday edition article entitled "Scholars, Get Busy on Scott Joplin!"^[83] Schonberg's call to action has been described as the catalyst for classical music scholars, the sort of people Joplin had battled all his life, to conclude that Joplin was a genius.^[84] Vera Brodsky Lawrence of the New York Public Library published a two-volume set of Joplin works in June 1971, entitled The Collected Works of Scott Joplin, stimulating a wider interest in the performance of Joplin's music.

In mid-February 1973 under the direction of Gunther Schuller, The New England Conservatory Ragtime Ensemble recorded an album of Joplin's rags taken from the period collection "Standard High-Class Rags" called Joplin: The Red Back Book. The album won a Grammy Award as Best Chamber Music Performance in that year, and went on to become Billboard magazine's Top Classical Album of 1974.^[85] The group subsequently recorded two more albums for Golden Crest Records: More Scott Joplin Rags in 1974 and The Road From Rags To Jazz in 1975.

In 1973, film producer George Roy Hill contacted Schuller and Rifkin separately, asking each man to write the score for a film project he was working on: The Sting. Both men turned down the request because of previous commitments. Instead Hill found Marvin Hamlisch available, and brought him into the project as composer.^[86] Hamlisch lightly adapted Joplin's music for the The Sting, for which he won an Academy Award for Best Original Song Score and Adaptation on April 2, 1974.^[87] His version of "The Entertainer" reached number 3 on the Billboard Hot 100 and the American Top 40 music chart on May 18, 1974,^[88][89] prompting The New York Times to write, "the whole nation has begun to take notice".^[81] Thanks to the film and its score, Joplin's work became appreciated in both the popular and classical music world, becoming (in the words of music magazine Record World), the "classical phenomenon of the decade".^[90] Rifkin later said of the film soundtrack that Hamlisch lifted his piano adaptations directly from Rifkin's style and his band adaptations from Schuller's style.^[86] Schuller said Hamlisch "got the Oscar for music he didn't write (since it is by Joplin) and arrangements he didn't write, and 'editions' he didn't make. A lot of people were upset by that, but that's show biz!"^[86]

On October 22, 1971, excerpts from Treemonisha were presented in concert form at Lincoln Center with musical performances by Bolcom, Rifkin and Mary Lou Williams supporting a group of singers.^[91] Finally, on January 28, 1972, T.J. Anderson's orchestration of Treemonisha was staged for two consecutive nights, sponsored by the Afro-American Music Workshop of Morehouse College in Atlanta, with singers accompanied by the Atlanta Symphony Orchestra^[92] under the direction of Robert Shaw, and choreography by Katherine Dunham. Schonberg remarked in February 1972 that the "Scott Joplin Renaissance" was in full swing and still growing.^[93] In May 1975, Treemonisha was staged in a full opera production by the Houston Grand Opera. The company toured briefly, then settled into an eight-week run in New York on Broadway at the Palace Theater in October and November. This appearance was directed by Gunther Schuller, and soprano Carmen Balthrop alternated with Kathleen Battle as the title character.^[92] An "original Broadway cast" recording was produced. Because of the lack of national exposure given to the brief Morehouse College staging of the opera in 1972, many Joplin scholars wrote that the Houston Grand Opera's 1975 show was the first full production.^[91]

1974 saw the Royal Ballet, under director Kenneth MacMillan, create Elite Syncopations a ballet based on tunes by Joplin and other composers of the era.^[94] That year also brought the premiere by the Los Angeles Ballet of Red Back Book, choreographed by John Clifford to Joplin rags from the collection of the same name, including both solo piano performances and arrangements for full orchestra.

Other awards and recognition[link]

1970: Joplin was inducted into the Songwriters Hall of Fame by the National Academy of Popular Music.^[95]