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[...]although the reference to \"stretched metre\" applies to both Dankworth's and Vanwelden's settings, it is Vanwelden's 2012 setting of Sonnet 17 that literally stretches the meter of this particular sonnet line, as well as many others. African American music, and cultural legitimation\"-jazz versions of the sonnets have been virtually ignored.2 My paper begins to redress this lack of scholarly focus by assessing the assured legacy of Dankworth and Laine and the still-fresh contributions (2012 and 2014) of Vanwelden and her group.3 As Terence Hawkes pointed out in his influential 1977 essay \"That Shakespeherian Rag\" (echoing Eliot's whimsical and deliberately misquoted song citation from The Waste Land), ragtime music was essentially a more \"genteel\" and \"intellectualized\" form than the raucous, visceral jazz music that was starting to upstage it during the first decades of the twentieth century.4 Hence the use of the words \"intelligent\" and \"elegant\" in the lyrics of Buck, Ruby, and Stamper's 1912 popular song as well as in Eliot's parodic allusion to it. [...]ragtime's orientation toward the written medium, by sharp contrast with jazz's proclivity for extemporization, offered a respectable and more serious veneer of cultural acceptability in keeping with Shakespeare's literary iconicity.