The Achievement of Ragtime: An Introductory Study with some Implications for British Research in Popular Music

Abstract

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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