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The “Counterpoint Musicality” of Americanness in E.L. Doctorow’s Ragtime
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Musicality in E.L. Doctorow’s Ragtime is quite deserving of study, as represented by its title. This article conducts an interdisciplinary study and offers a corrective to previous scholarship that has routinely overlooked the relationship between the counterpoint of musicality and the American identities. It is split into three parts: the manifestations of counterpoint musicality in Ragtime, stabilized left-hand voice echoing progressive industry and varied right-hand voice echoing conflictive revolt, which emphasizes the reflections on the “double” American identities.
Title: The “Counterpoint Musicality” of Americanness in E.L. Doctorow’s Ragtime
Description:
Musicality in E.
L.
Doctorow’s Ragtime is quite deserving of study, as represented by its title.
This article conducts an interdisciplinary study and offers a corrective to previous scholarship that has routinely overlooked the relationship between the counterpoint of musicality and the American identities.
It is split into three parts: the manifestations of counterpoint musicality in Ragtime, stabilized left-hand voice echoing progressive industry and varied right-hand voice echoing conflictive revolt, which emphasizes the reflections on the “double” American identities.
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