Editing Ragtime (section)

===Revivals===
There have been numerous revivals since newer styles supplanted ragtime in the 1920s. First in the early 1940s, many jazz bands began to include ragtime in their repertoire and put out ragtime recordings on [[phonograph record#78 rpm disc developments|78 rpm records]]. A more significant revival occurred in the 1950s as a wider variety of ragtime genres of the past were made available on records, and new rags were composed, published, and recorded.

In the 1960s, two major factors brought about a greater public recognition of ragtime. The first was the publication of the book, ''[[They All Played Ragtime]]'', in 1960, by Harriet Janis and Rudi Blesh. Some historians refer to this book as "The Ragtime Bible". Regardless, it was the first comprehensive and serious attempt to document the first ragtime era, and its three most important composers, Joplin, Scott, and Lamb. The second major factor was the rise to prominence of [[Max Morath]]. Morath created two television series for National Educational Television (now PBS) in 1960 and 1962: ''The Ragtime Era'', and ''The Turn of the Century''. Morath turned the latter into a one-man-show in 1969, and toured the US with it for five years. Morath subsequently created different one-man-shows which also toured the US, that also educated and entertained audiences about ragtime.<ref>John S. Wilson, New York Times [https://www.nytimes.com/1982/07/30/arts/max-morath-in-rag-and-unragtime.html "MAX MORATH IN RAG AND 'UNRAGTIME'"]. Originally published, July 30, 1982; site accessed, July, 2021.</ref> New ragtime composers soon followed, including Morath, [[Donald Ashwander]], [[Trebor Jay Tichenor]], [[John Arpin]], [[William Bolcom]], and [[William Albright (musician)|William Albright]].

In 1971, [[Joshua Rifkin]] released a compilation of Joplin's work which was nominated for a [[Grammy Award]].<ref name="Past Winner Database">[http://theenvelope.latimes.com/extras/lostmind/year/1971/1971grammy.htm Past Winner Database], "1971 14th Grammy Awards". Accessed Feb. 19, 2007.</ref>

In 1973, [[The New England Ragtime Ensemble]] (then a student group called The New England Conservatory Ragtime Ensemble) recorded ''[[The Red Back Book]]'', a compilation of some of Joplin's rags in period orchestrations edited by conservatory president [[Gunther Schuller]]. It won a Grammy for Best Chamber Music Performance of the year and was named Top Classical Album of 1974 by ''[[Billboard (magazine)|Billboard]]'' magazine. The film ''[[The Sting]]'' (1973) brought ragtime to a wide audience with its soundtrack of Joplin tunes. The film's rendering of "The Entertainer", adapted and orchestrated by [[Marvin Hamlisch]], was a Top 5 hit in 1975.

Ragtime – with Joplin's work at the forefront – has been cited as an American equivalent of the [[minuet]]s of [[Wolfgang Amadeus Mozart|Mozart]], the [[mazurka]]s of [[Frédéric Chopin|Chopin]], or the [[waltz]]es of [[Johannes Brahms|Brahms]].<ref>Hitchcock, H. Wiley. "Stereo Review", 1971, p.84, cited in ''Scott Joplin: Black-American Classicist'', p. xiv.</ref> Ragtime also influenced [[Classical music|classical]] composers including [[Erik Satie]], [[Claude Debussy]], and [[Igor Stravinsky]].<ref name="rb6">''Scott Joplin: Black-American Classicist'', p. xiii.</ref><ref>{{cite journal|last=Dickinson|first=Peter|title=Reviews of Books|journal=Music and Letters|date=1 January 1987|volume=68|issue=1|pages=78–79|doi=10.1093/ml/68.1.78}}</ref>