Editing Ragtime (section)

==Influence on European composers==
[[File:On the Pike 1.jpg|thumb|right|upright|[[James Scott (musician)|James Scott]]'s 1904 "On the Pike", which refers to the midway of the [[Louisiana Purchase Exposition|St. Louis World's Fair of 1904]]]]

During the early 20th century, some [[20th-century classical music|European classical composers]] were influence from the form. The first contact with ragtime was probably at the Paris Exposition in 1900, one of the stages of the European tour of John Philip Sousa. The first notable classical composer to take a serious interest in ragtime was [[Antonín Dvořák]].<ref>{{cite web|title=Antonin Dvorak – Symphony No. 9 "From the New World" In Nature's Realm – Carnival|url=http://www.musicallyspeaking.com/id63.html|website=Musicallyspeaking.com|access-date=April 21, 2013|archive-date=August 20, 2017|archive-url=https://web.archive.org/web/20170820203023/http://www.musicallyspeaking.com/id63.html|url-status=dead}}</ref> French composer [[Claude Debussy]] emulated ragtime in three pieces for piano. The best-known remains the ''Golliwog's Cake Walk'' (from the 1908 Piano Suite ''[[Children's Corner]]''). He later returned to the style with two preludes for piano: ''Minstrels'', (1910) and ''General Lavine-excentric'' (from his 1913 [[Préludes (Debussy)|Préludes]]),<ref name="rb6"/> which was inspired by a Médrano circus clown.

[[Erik Satie]], [[Arthur Honegger]], [[Darius Milhaud]], and the other members of [[Les Six]] in Paris never made any secret of their sympathy for ragtime, which is sometimes evident in their works. Consider, in particular, the ballet of Satie, ''Parade (Ragtime du Paquebot),'' (1917) and ''La Mort de Monsieur Mouche'', an overture for piano for a drama in three acts, composed in the early 1900s in memory of his friend J. P. Contamine de Latour. In 1902 the American [[cakewalk]] was very popular in Paris and Satie two years later wrote two rags, ''La Diva de l'empire'' and ''Piccadilly''. Despite the two Anglo-Saxon settings, the tracks appear American-inspired. ''La Diva de l'empire'', a march for piano soloist, was written for Paulette Darty and initially bore the title ''Stand-Walk Marche''; it was later subtitled ''Intermezzo Americain'' when Rouarts-Lerolle reprinted it in 1919. ''Piccadilly'', another march, was initially titled ''The Transatlantique''; it presented a stereotypical wealthy American heir sailing on an ocean liner on the New York–Europe route, going to trade his fortune for an aristocratic title in Europe.<ref>Gildo De Stefano, "Ragtime, jazz & dintorni", Preface by [[Amiri Baraka]]. Sugarco Editions, Milan, 2007. {{ISBN|978-88-7198-532-9}}</ref> There is a similar influence in Milhaud's ballets ''Le boeuf sur le toite'' and ''Creation du Monde'', which he wrote after a visit to [[Harlem]] during his trip in 1922. Even the Swiss composer Honegger wrote works in which the influence of African American music is pretty obvious. Examples include ''Pacific 231'', ''Prélude et Blues'' and especially the ''Concertino'' for piano and orchestra.

[[Igor Stravinsky]] wrote a solo piano work called ''[[Piano-Rag-Music]]'' in 1919 and also included a rag in his theater piece ''[[L'Histoire du soldat]]'' (1918).<ref>{{cite web|author=Robert Bridge|date=May 17, 1994|title=L'Histoire du Soldat (The Soldier's Tale) A Brief Historical Overview|url=http://myhome.sunyocc.edu/~bridger/papers/lhistpaper.htm|access-date=January 31, 2012|url-status=unfit|archive-url=https://web.archive.org/web/20100623171624/http://myhome.sunyocc.edu/~bridger/papers/lhistpaper.htm|archive-date=2010-06-23}} also [http://docplayer.net/37436835-L-histoire-du-soldat-the-soldier-s-tale-a-brief-historical-overview.html PDF]</ref>