Early 20th scholarly analysis of American music tended to interpret European-derived classical traditions as the most worthy of study, with the folk, religious, and traditional musics of the common people denigrated as low-class and of little artistic or social worth. American music history was compared to the much longer historical record of European nations, and was found wanting, leading writers like the composer Arthur Farwell to ponder what sorts of musical traditions might arise from American culture, in his 1915 "Music in America". In 1930, John Tasker Howard's "Our American Music" became a standard analysis, focusing on largely on concert music composed in the United States. Since the analysis of musicologist Charles Seeger in the mid-20th century, American music history has often been described as intimately related to perceptions of race and ancestry. Under this view, the diverse racial and ethnic background of the United States has both promoted a sense of musical separation between the races, while still fostering constant acculturation, as elements of European, African, and indigenous musics have shifted between fields. Gilbert Chase's "America's Music, from the Pilgrims to the Present", was the first major work to examine the music of the entire United States, and recognize folk traditions as more culturally significant than music for the concert hall. Chase's analysis of a diverse American musical identity has remained the dominant view among the academic establishment. Until the 1960s and 1970s, however, most musical scholars in the United States continued to study European music, limiting themselves only to certain fields of American music, especially European-derived classical and operatic styles, and sometimes African American jazz. More modern musicologists and ethnomusicologists have studied subjects ranging from the national musical identity to the individual styles and techniques of specific communities in a particular time of American history. Prominent recent studies of American music include Charles Hamm's "Music in the New World" from 1983, and Richard Crawford's "America's Musical Life" from 2001.