Question:
Lord Voldemort (; in the films; born Tom Marvolo Riddle) is a fictional character and the main antagonist in J. K. Rowling's series of Harry Potter novels. Voldemort first appeared in Harry Potter and the Philosopher's Stone, which was released in 1997. Voldemort appears either in person or in flashbacks in each book and its film adaptation in the series, except the third, Harry Potter and the Prisoner of Azkaban, where he is only mentioned. Voldemort is the archenemy of Harry Potter, who according to a prophecy has "the power to vanquish the Dark Lord".
In a 2001 interview, Rowling said Voldemort was invented as a nemesis for Harry Potter (the protagonist of the novels), and she intentionally did not flesh out Voldemort's backstory at first. "The basic idea [was that Harry] didn't know he was a wizard ... And so then I kind of worked backwards from that position to find out how that could be, that he wouldn't know what he was. ... When he was one year old, the most evil wizard for hundreds and hundreds of years attempted to kill him. He killed Harry's parents, and then he tried to kill Harry--he tried to curse him. ... Harry has to find out, before we find out. And--so--but for some mysterious reason the curse didn't work on Harry. So he's left with this lightning bolt shaped scar on his forehead and the curse rebounded upon the evil wizard, who has been in hiding ever since." In the second book, Rowling establishes that Voldemort hates non-pure-blood wizards, despite being a half-blood himself. In a 2000 interview with the BBC, Rowling described Voldemort as a self-hating bully: "Well I think it is often the case that the biggest bullies take what they know to be their own defects, as they see it, and they put them right on someone else and then they try and destroy the other and that's what Voldemort does." In the same year, Rowling became more precise about Voldemort. She began to link him to real-life tyrants, describing him as "a raging psychopath, devoid of the normal human responses to other people's suffering". In 2004, though, Rowling said that she did not base Voldemort on any real person. In 2006, Rowling told an interviewer that Voldemort at his core has a human fear: the fear of death. She said: "Voldemort's fear is death, ignominious death. I mean, he regards death itself as ignominious. He thinks that it's a shameful human weakness, as you know. His worst fear is death." Throughout the series, Rowling establishes that Voldemort is so feared in the wizarding world that it is considered dangerous even to speak his name. Most characters in the novels refer to him as "You-Know-Who" or "He-Who-Must-Not-Be-Named" rather than say his name aloud. In Harry Potter and the Deathly Hallows, a "taboo" spell is placed upon the name, such that Voldemort or his followers may trace anyone who utters it. By this means, his followers eventually find and capture Harry and his friends Ron Weasley and Hermione Granger. In the second book, Rowling reveals that I am Lord Voldemort is an anagram of the character's birth name, Tom Marvolo Riddle. According to the author, Voldemort's name is an invented word. Some literary analysts have considered possible meanings in the name: Philip Nel states that Voldemort is derived from the French for "flight of death", and in a 2002 paper, Nilsen and Nilsen suggest that readers get a "creepy feeling" from the name Voldemort, because of the French word "mort" ("death") within it and that word's association with cognate English words derived from the Latin mors.
Answer this question using a quote from the text above:

did he ever cause any harm to Harry Potter?

Answer:
Harry has to find out, before we find out. And--so--but for some mysterious reason the curse didn't work on Harry.

Answer the question at the end by quoting:

According to author Edward A. Berlin, "One tenacious myth tells us that Joplin was born in Texarkana, Texas, on November 24, 1868. The location is easily dispensed with: Texarkana was not established until 1873." But, based on a letter discovered by musicologist John Tennison in 2015 in the December 19, 1856 edition of the Times-Picayune, it is clear that Texarkana was established as a place-name at least as early as 1856. Consequently, it appears possible that Joplin, born 12 years later, could have been born in Texarkana.
The combination of classical music, the musical atmosphere present around Texarkana (including work songs, gospel hymns, spirituals and dance music) and Joplin's natural ability have been cited as contributing significantly to the invention of a new style that blended African-American musical styles with European forms and melodies, and first became celebrated in the 1890s: ragtime. When Joplin was learning the piano, serious musical circles condemned ragtime because of its association with the vulgar and inane songs "...cranked out by the tune-smiths of Tin Pan Alley." As a composer Joplin refined ragtime, elevating it above the low and unrefined form played by the "...wandering honky-tonk pianists... playing mere dance music" of popular imagination. This new art form, the classic rag, combined Afro-American folk music's syncopation and 19th-century European romanticism, with its harmonic schemes and its march-like tempos. In the words of one critic, "Ragtime was basically... an Afro-American version of the polka, or its analog, the Sousa-style march." With this as a foundation, Joplin intended his compositions to be played exactly as he wrote them - without improvisation. Joplin wrote his rags as "classical" music in miniature form in order to raise ragtime above its "cheap bordello" origins and produced work that opera historian Elise Kirk described as, "... more tuneful, contrapuntal, infectious, and harmonically colorful than any others of his era." Some speculate that Joplin's achievements were influenced by his classically trained German music teacher Julius Weiss, who may have brought a polka rhythmic sensibility from the old country to the 11-year old Joplin. As Curtis put it, "The educated German could open up the door to a world of learning and music of which young Joplin was largely unaware." Joplin's first and most significant hit, the "Maple Leaf Rag", was described as the archetype of the classic rag, and influenced subsequent rag composers for at least 12 years after its initial publication thanks to its rhythmic patterns, melody lines, and harmony, though with the exception of Joseph Lamb, they generally failed to enlarge upon it.

What music did Joplin rejuvenate?
invention of a new style that blended African-American musical styles with European forms and melodies, and first became celebrated in the 1890s: ragtime.