of the arrangers. They sprang into immediate popularity and earned
small fortunes, of which the Negro originators got only a few dollars.
But I have learned that since that time a number of colored men, of
not only musical talent, but training, are writing out their own
melodies and words and reaping the reward of their work. I have
learned also that they have a large number of white imitators and
adulterators.

American musicians, instead of investigating ragtime, attempt to
ignore it, or dismiss it with a contemptuous word. But that has always
been the course of scholasticism in every branch of art. Whatever new
thing the people like is pooh-poohed; whatever is popular is spoken
of as not worth the while. The fact is, nothing great or enduring,
especially in music, has ever sprung full-fledged and unprecedented
from the brain of any master; the best that he gives to the world he
gathers from the hearts of the people, and runs it through the alembic
of his genius. In spite of the bans which musicians and music teachers
have placed upon it, the people still demand and enjoy ragtime. One
thing cannot be denied; it is music which possesses at least one
strong element of greatness: it appeals universally; not only the
American, but the English, the French, and even the German people find
delight in it. In fact, there is not a corner of the civilized world
in which it is not known, and this proves its originality; for if it
were an imitation, the people of Europe, anyhow, would not have
found it a novelty. Anyone who doubts that there is a peculiar
heel-tickling, smile-provoking, joy-awakening charm in ragtime needs
only to hear a skillful performer play the genuine article to be
convinced. I believe that it has its place as well as the music which
draws from us sighs and tears.