ed. And this proves
its originality, for if it were an imitation, the people of Europe, at
least, would not have found it a novelty. And it is proof of a more
important thing, it is proof that Ragtime possesses the vital spark, the
power to appeal universally, without which any artistic production, no
matter how approved its form may be, is dead.

Of course, there are those who will deny that Ragtime is an artistic
production. American musicians, especially, instead of investigating
Ragtime, dismiss it with a contemptuous word. But this has been the course
of scholasticism in every branch of art. Whatever new thing the people
like is pooh-poohed; whatever is popular is regarded as not worth while.
The fact is, nothing great or enduring in music has ever sprung
full-fledged from the brain of any master; the best he gives the world he
gathers from the hearts of the people, and runs it through the alembic of
his genius.

Ragtime deserves serious attention. There is a lot of colorless and
vicious imitation, but there is enough that is genuine. In one composition
alone, "The Memphis Blues," the musician will find not only great melodic
beauty, but a polyphonic structure that is amazing.

It is obvious that Ragtime has influenced, and in a large measure,
become our popular music; but not many would know that it has influenced
even our religious music. Those who are familiar with gospel hymns can at
once see this influence if they will compare the songs of thirty years
ago, such as "In the Sweet Bye and Bye," "The Ninety and Nine," etc., with
the up-to-date, syncopated tunes that are sung in Sunday Schools,
Christian Endeavor Societies, Y.M.C.A.'s and like gatherings to-day.

Ragtime has not only influenced American music, it has influenced American
life; indeed, it has saturated American life. It has become the popular
medium for our national expression musically. And who can say that it does
not express the blare and jangle and the surge, too, of our national
spirit?

Any one who doubts that there is a peculiar heel-tickling,
smile-provoking, joy-awakening, response-compelling charm in Ragtime needs
only to hear a skilful performer play the genuine article, needs only to
listen to its bizarre harmonies, its audacious resolutions often
consisting of an abrupt jump from one key to another, its intricate
rhythms in which the accents fall in the most unexpected places but in
which the fundamental beat is never lost in order