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One point has been generally made and agreed upon: that the essential character of jazz is its rhythm. Although jazz has been many months now in the hands of professional theorists nowhere a study of its influence upon non-commercial composers. Mr. Knowlton’s article reveals the practice followed by popular music publishers of writing extremely complex jazz compositions very simply so as to sell them more easily to the musically uneducated. Ragtime is much inferior to jazz and musically uninteresting; it consists of old formulas familiar in the classics which were rediscovered one day and overworked. But the polyrhythms of jazz are different in quality and effect not only from those of the madrigals but from all others as well. In the days of ragtime, Debussy and Stravinsky, in the days of jazz, Ravel, Milhaud, Honegger, Hindemith, Jean Wiener exploited it as an exotic novelty.
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