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The Achievement of Ragtime: An Introductory Study with some Implications for British Research in Popular Music
Published online by Cambridge University Press: 01 January 1978
Extract
Rupert Hughes, in The Boston Musical Record, 1899:
Ragtime meets little encouragement from the scholarly musician. It has two classes of enemies: the green-eyed, blue-goggled fogy who sees in all popular music a diminution of the attention due to Bach's works; and the more modern scholar who thinks he has dismissed the whole musical activity of the Negro by a single contemptuous word.
But … [none of these reproaches] … has ever succeeded against a vital musical idea, and I feel safe in predicting that ragtime has come to stay, that it will be taken up and developed into a great dance form to be handled with respect, not only by Negro creators, but by the scholarly musicians of the whole world.1
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- Research Article
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- Copyright © 1980 The Royal Musical Association and the Authors
References
NOTES
1 Rudi Blesh and Harriet Janis, They All Played Ragtime (4th edn., New York, 1971), 103.Google Scholar
2 The Times, 8 February 1913.Google Scholar
3 H. Wiley Hitchcock, Music in the United States (New Jersey, 1969).Google Scholar
4 Brooks, W. F., ‘American Music’, Contemporary Music Dictionary (Tokyo, 1978).Google Scholar
5 Gilbert Chase, America's Music (2nd edn., New York, 1966).Google Scholar
6 Wilfrid Mellers, Music in a New Found Land (London, 1964).Google Scholar
7 H. Wiley Hitchcock, Music in the United States (New Jersey, 1969).Google Scholar
8 The Music Department at the University of Keele has a Centre for American Music which has presented two conferences. The Second Conference was in July 1978, on Blues-Country-Rock.Google Scholar
9 Berlin, E., Piano Ragtime :A Musical and Cultural Study (diss., City University of New York, 1976).Google Scholar
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21 On the spur of the moment, according to a witness, Sam Patterson, interviewed by R. Blesh and H. Janis in New York in 1949. Preface to Collected Piano Works: Scott Joplin (New York), 1971), XXX.Google Scholar