As for Ragtime, I go straight to the statement that it is the one artistic production by which America is known the world over. It has been all-conquering. Everywhere it is hailed as "American music."
For a dozen years or so there has been a steady tendency to divorce Ragtime from the Negro; In fact, to take from him the credit of having originated it. Probably the younger people of the present generation do not know that Ragtime is of Negro origin. The change wrought in Ragtime and the way in which it is accepted by the country have been brought about chiefly through the change which has gradually been made in the words and stories accompanying the music. Once the text of all Ragtime songs was written in Negro dialect, and was about Negroes in the cabin or in the cotton field or on the levee or at a jubilee or on Sixth Avenue or at a ball, and about their love affairs. To-day, only a small proportion of Ragtime songs relate at all to the Negro. The truth is. Ragtime is now national rather than racial. But that does not abolish in any way the claim of the American Negro as its originator.
Ragtime music was originated by colored piano players in the questionable resorts of St. Louis, Memphis, and other Mississippi River towns. These men did not know any more about the theory of music than they did about the theory of the universe. They were guided by their natural musical instinct and talent, but above all by the Negro's extraordinary sense of rhythm. Any one who is familiar with Ragtime may note that its chief charm is not in melody, but in rhythms. These players often
