By the turn of the century there were several

Info iconThis preview shows page 1. Sign up to view the full content.

View Full Document Right Arrow Icon
This is the end of the preview. Sign up to access the rest of the document.

Unformatted text preview: Orleans became part of the United States following the Louisiana Purchase in 1803, a steady stream of Southern whites moved to the city bringing with them very different attitudes about race and color than were held by the city’s Spanish, French, Italian, Cajun, and Creole citizens. The tolerant culture that had characterized the city for almost a century began to give way to the racism typical of other American cities at the time, and this racism escalated in a racist backlash following the Civil War. In 1874, the White League was organized both to throw out the Yankee “carpetbaggers” and to keep Blacks “in their place.” As segregation and prejudice grew, the Creoles found themselves increasingly pushed from the mid- level social status that they had enjoyed for generations to the lowest social status that had been forced upon the black slaves and was now held by ex- slaves. As the Creoles began to lose their position in New Orleans society, Creole musicians found themselves more frequently playing with the ex- slave musicians. It was through this merging of the European traditions of harmony and instrumental performance from the highly sophisticated, classically trained Creole musicians with the Caribbean influences and the African- based traditions of blues, field hollers, and worksongs from the ex- slaves that jazz was born. Some of the important Creole musicians who helped shape the new jazz forms were Lorenzo Teio, Alphonse Picou, Edward “Kid” Ory, and Ferdinand “Jelly Roll” Morton.1 Street Bands, Funeral Processions, and Pianists for Storyville Entertainment During this very early period, jazz was played mainly in the streets and used to accompany parades and funerals. For funerals, the band would play a slow, somber dirge following the hearse as it transported the coffin to the cemetery, and then switch to a lively, syncopated rendition of a song following the internment as the mourners left the cemetery. The city also valued pleasure and loose living, and there was a thriving brothel district called “Storyville” 1Brooks, p. 86 4 Crossroads: Music of American Cultures (Barkley) Kendall Hunt Publishers, 2013 (named after Alderman Story who had tried to contain prostitution within one secti...
View Full Document

This document was uploaded on 02/16/2014.

Ask a homework question - tutors are online