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New Orleans

New Orleans - iii Variable intonation iv Improvisation e...

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I. New Orleans a. Birthplace of jazz b. Why New Orleans? i. C. 1900: only large city in the South ii. Urban iii. River port: gateway to Caribbean iv. African retentions 1. Much stronger in Caribbean and South America 2. Migration from rural South 3. French a. Also Spanish i. Mediterranean view on music, morals c. New Orleans and Music i. “Music-mad” 1. Parties (Mardi Gras) 2. Dances 3. Opera ii. Storyville 1. Legalized prostitution (1897-1917) d. Racial caste systems i. In U.S. 1. “One drop of blood” rule 2. Any black heritage ii. In New Orleans 1. Intermediate caste 2. Creoles of color a. “Les gen de couleur libres” b. Mulattos c. French d. Catholic e. Creoles and music i. Skilled performers ii. Music readers iii. Teachers 3. Blacks a. From countryside: i. “Corn and field Negroes” ii. Uneducated, unskilled laborers b. Congo Square i. African folk traditions c. Black musicians i. Call / response ii. Rhythmic contrast
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Unformatted text preview: iii. Variable intonation iv. Improvisation e. New Orleans geography i. Canal Street 1. Divides New Orleans ii. Downtown 1. French 2. Creole iii. Uptown 1. Black f. Blacks and Creoles i. Creole musicians use written music ii. Look down on “fakers” iii. “Turning point” 1. C. 1890-1900 2. Black codes 3. Plessy v. Ferguson a. End of Creole privilege iv. Blacks and Creoles compete 1. Trained musicians vs. “fakers” 2. African-American folk tradition = musical resource g. Buddy Bolden (1871-1913) i. Cornet player ii. “First jazz musician” iii. Jazz celebrity iv. Poor black neighborhood v. Blues, church music vi. “Played the blues, played it loud” vii. Before recording viii. Locked up as schizophrenic, 1907 ix. Shift toward black folkways...
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New Orleans - iii Variable intonation iv Improvisation e...

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