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 to be convinced. I
believe it has its place as well as the music which draws from us sighs
and tears.