Abstract
This article presents a critical review of the first blues sheet music publications and recordings, drawing upon perspectives of history, musical style, media, race, and class. This review also aims to distinguish ragtime and vaudeville adaptations and stylizations of the blues from the original folk form. The need for this separation and ordering results from conclusions regarding the deliberate, mercantile abuse of the word “blues” in the titles of songs of various genres of popular music until the 1920s.
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