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Published online by Cambridge University Press: 01 January 1978
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
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
10 Waldo, T., This is Ragtime (New York, 1976), 173.Google Scholar
11 Dena J. Epstein, Sinful Tunes and Spirituals (Chicago, 1977).Google Scholar
12 Maple Leaf Rag, on Ragtime in Rural America, New World Records NW 235.Google Scholar
13 Ann Charters, The Ragtime Songbook (New York, 1965).Google Scholar
14 David A. Jasen and Trebor Jay Tichenor, Rags and Ragtime (New York, 1978), 80–1.Google Scholar
15 William J. Schafer and Johannes Riedel, The Art of Ragtime (Louisiana, 1973), 187–204.Google Scholar
16 Charles Ives: The 100th Anniversary. Record IV in 5-disc set from CBS M4 32504.Google Scholar
17 John Kirkpatrick, Charles E. Ives Memos (New York, 1972), 56–7.Google Scholar
18 David A. Jasen and Trebor Jay Tichenor, op. cit.Google Scholar
19 Billy Mayerl, The Jazz Master (London, 1972).Google Scholar
20 Tallmadge, W., Sonneck Society Newsletter, v/3, 16–17 : Blake is wrong.Google Scholar
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