D. L. Bullock writes ....

> I have been unable to find any indication that ragtime originated from
> anyone other than Joplin.  Granted he did design the form from the
> popular march form of the day, as well as several other minstrel and
> "coon" song forms, but I have not been able to find anyone to dispute
> the claim of his design of the form itself.  I would be interested if
> you have some unknown research that would enlighten me.

At the risk of seeming self-serving and commercial (which is not my
intention), I would suggest that if you are really interested in these
issues, you look at my book "Ragtime: A Musical and Cultural History"
(Univ. of Calif. Press, 1980).

Since the book has been available for 18 years, it would not qualify as
"unknown research," but perhaps it can still enlighten you.  I examined
the varieties of ragtime form from 1897 (before Joplin published rags)
to 1919, and found that, statistically, the Joplin or Classic 4-strain
rag was not the most common; there are many more rags with only 3
strains, as well as numerous (such as Joplin's "Original Rags") that
have more than 4 strains.

Form, though, is not the defining element of ragtime, for the form was
common to other genres as well: march (in both 2/4 & 6/8) & unsynco-
pated two-step, schottische, polka, habanera & danza, etc.

It is the use of certain stereotyped rhythms within the instrumental
forms common to the time that create instrumental ragtime.

Ed Berlin


 [ Editor's note -- for further reading:
 [
 [ Many libraries will still have "They All Played Ragtime", by
 [ Rudi Blesh and Harriet Janis, Alfred A. Knopf, New York, 1950,
 [ and published later in paperback by Oak Publications, New York.
 [
 [ Another good reference book is "Rags and Ragtime - A Musical
 [ History", by David A. Jasen and Trebor J. Tichenor, The Seabury
 [ Press, New York, 1978, with commentary on lots of ragtime composers
 [ and their songs.
 [
 [ -- Robbie