unusual chromatic features typical of composers with non-standard training. Classic rag – the Missouri-style ragtime popularized by Scott Joplin, James Scott, and others. Foxtrot – a dance fad that began in 1913. Fox-trots contain a dotted-note rhythm different from that of ragtime, but which nonetheless was incorporated into many late rags. Novelty piano – a piano composition emphasizing speed and complexity, which emerged after World War I. It is almost exclusively the domain of white composers. Stride piano – a style of piano that emerged after World War I, developed by and dominated by black East-coast pianists (James P. Johnson, Fats Waller, and Willie 'The Lion' Smith). Together with novelty piano, it may be considered a successor to ragtime, but is not considered by all to be "genuine" ragtime. Johnson composed the song that is arguably most associated with the Roaring Twenties, "Charleston." A recording of Johnson playing the song appears on the compact disc James P. Johnson: Harlem Stride Piano (Jazz Archives No. 111, EPM, Paris, 1997). Johnson's recorded version has a ragtime flavor. American ragtime composers Influence on European composers European Classical composers were influenced by 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. 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), which was inspired by a Médrano circus clown. Erik Satie, Arthur Honegger, Darius Milhaud, and the other members of The Group of 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,