32:
463:, or celebrate the deeds of some plantation hero. The dancers themselves never sing ... and the usual musical accompaniment, besides that of the singers, is that furnished by a skilful performer on the barrel-head-drum, the jaw-bone and key, or some other rude instrument. ... It will be noticed that all these songs are "seculars" ; and that while the words of most of them are of very little account, the music is as peculiar, as interesting, and, in the case of two or three of them, as difficult to write down, or to sing correctly, as any that have preceded them.
344:
313:'s birth in 1829, 'Caribbean' was perhaps the best word to describe the musical atmosphere of New Orleans. Although the inspiration for Gottschalk's compositions, such as "Bamboula" and "The Banjo", has often been attributed to childhood visits to Congo Square, no documentation exists for any such visits, and it is more likely that he learned the Creole melodies and rhythms that inform these pieces from Sally, his family's enslaved nurse from
227:
496:. "I was dressed in Creole costume and sang for about an hour and a half, and was very well received. Now this was a white audience; such a thing was unheard of in Louisiana, especially in the rural section such as this was. The enthusiasm of the audience showed me what an impact the Creole song could have."
752:
were able to purchase instruments and hold house parties. The music that developed into the early 20th century was called la la (or la-la). Though racial relations were strictly controlled, there were nevertheless opportunities for Creole and Cajun music to influence one another, particularly since
504:
In any discussion of Creole folk songs, compilations of such songs play an essential role, not only for defining "Creole folk music", but also as a source of information, and, for performers, a possible source of arrangements. A brief summary of published compilations (with citations in
References)
475:
We may never know the identity of the person who wrote down the seven Creole folk songs as sung at Good Hope
Plantation, but it is noteworthy that Good Hope (town), Good Hope Floodwall, Good Hope Oil and Gas Field, Bayou La Branche, and, especially, La Branche Wetlands are today well known names in
458:
is danced, the music is furnished by an orchestra of singers, the leader of whom—a man selected both for the quality of his voice and for his skill in improvising—sustains the solo part, while the others afford him an opportunity, as they shout in chorus, for inventing some neat verse to compliment
280:
The booming of
African drums and blast of huge wooden horns called to the gathering ... The drums were very long, hollowed, often from a single piece of wood, open at one end and having a sheep or goat skin stretched across the other ... The smaller drum was often made from a joint or two of very
467:
The words "obtained from a lady who heard them sung" suggest that the songs were written down by someone, perhaps the lady herself, but certainly someone adept at music notation who was able to understand and write down the patois. It seems likely that she or he was a guest or a member of the La
563:
The most definite recollections of my childhood on the
Labranche Plantation in St. Charles Parish where we lived, are of the singing and dancing of the negroes. This plantation had been in our family from the days of the early settlers and, by a trick of fortune years after the war, with its
564:
resulting shiftings and changes, my grandmother found herself mistress of a plantation on which she had lived as a child. Many of the negroes who had wandered away (in fact, nearly all of them) had by then returned to their birthplace to find themselves practically under the same masters ...
394:
was one of the three pieces based on Creole tunes that had a tremendous success in Europe and that I have called the "Louisiana
Trilogy". All three were composed between 1844 and 1846, when Gottschalk was still a teenager ... The piece that created the greatest sensation was
468:
Branche family, who resided at the plantation until 1859, shortly after which the plantation was devastated by flood. This family included United States chargé d'affaires to Texas and a
Speaker of the Louisiana House of Representatives,
449:
were obtained from a lady who heard them sung, before the war, on the "Good Hope" plantation, St. Charles Parish, Louisiana ... Four of these songs, Nos. 130, 131, 132, and 133, were sung to a simple dance, a sort of minuet, called the
293:, or "bamboo-drum", accompanied the bamboula dance and bamboula songs. Chase writes, "For Cable, the bamboula represented 'a frightful triumph of body over the mind,' and 'Only the music deserved to survive, and does survive ... '"
558:(1921); texts and music collected by Mina Monroe, edited with the collaboration of Kurt Schindler. In the introduction, Monroe (who was born Marie Thereze Bernard in New Orleans, September 2, 1886), offers these insights:
428:
the attempt of some enterprising negro to write a French song; he is certainly to be congratulated on his success." The song has been published in more than a dozen collections prior to 1963, listed by the
332:, widely popular dance compositions based on the African-derived habanera rhythm. It is likely that contradanzas composed by both Gottschalk and Saumell were an antecedent to the ragtime compositions of
402:
Chase apparently overlooked a fourth Creole melody used by
Gottschalk on his Op. 11 (Three other melodies had already been identified for this piece). In her 1902 compilation, Gottschalk's sister,
317:, who Gottschalk referred to as "La NĂ©gresse Congo". Whether Gottschalk actually attended the Congo Square dances, his music is certainly emblematic of the crossroads that formed there.
289:
Cable then describes a variety of instruments used at Congo Square, including gourds, triangles, jaw harps, jawbones, and "the grand instrument at last", the four-stringed banjo. The
492:
adapted from Creole folk music professionally as "The
Louisiana Lady." During an interview with Doris E. McGinty, Professor Nickerson told of her first performance at a parish in
585:", "Pauv' Pitit' Mamzell' Zizi", "Un Bal" (= "Michié Préval"),"Les Jours du Temps Passé", "Quand Patates Sont Cuites", "Bal Fini", "Compère Lapin", and "Aurore Bradère".
738:
Vernacular music among
Louisiana Creole people combined African, French, Spanish, and Anglo-American influences. During the 19th century, this was expressed as
1066:
Krehbiel, Henry Edward (1916). "Chapters IX, X, XI concentrate on
Louisiana Creole music, dance, and patois, with comparisons to those of Martinique.".
253:
Creole folk songs originated on the plantations of the French and Spanish colonists of Louisiana. The music characteristics embody African-derived
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1462:
569:
Monroe's compilation includes ample notes about each of the twelve folk songs. The songs are arranged for solo voice with piano accompaniment
916:
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351:
Perone's bio-bibliography lists hundreds of Gottschalk's compositions. Among them are three solo piano works based on Creole melodies:
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Born in New Orleans and reared in the culture of Saint-Domingue, he toured throughout the Caribbean and was particularly acclaimed in
1015:. New York: A. Simpson & Co. pp. The Creole folk songs, numbered 130–136, can be viewed here as melodies with Creole lyrics
1244:
1395:
581:, includes arrangements by Tiersot for solo voice and piano of these Creole folk songs: "Papa Dit Non, Maman Dit Oui", "
1291:, University Press of Mississippi, Jackson, Mississippi, 1996. (Mentions black Creole music, but not Creole folk songs.)
1818:
1813:
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406:, arranged "Po' Pitie Mamzé Zizi", and included a footnote: "L. M. Gottschalk used this melody for his piece entitled
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988:
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1135:(1939, Third edition, Hebert Publications, Eunice, Louisiana, 1981. ed.). Louisiana State University Press.
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Julien Tiersot, "Notes d'ethnographie musicale: La Musique chez les peuples indigenes de l'Amerique du Nord",
956:
133:
1683:
1345:
Sämmelbande der Internationalen Musikgesellschaft 11 (1910) 141-231. Melodies only, with musicological notes.
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Africo-Creole Music in Louisiana; a thesis on the plantation songs created by the Creole negroes of Louisiana
138:
1823:
1575:
1448:
408:
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Music in American Life: An Encyclopedia of the Songs, Styles, Stars, and Stories That Shaped Our Culture
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is an exemplar both stylistically as well as in his collaboration with white musicians such as fiddler
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based on "En avan', Grenadie'", which like other Creole folk melodies, was also a popular French song.
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Cable, George Washington (February 1886). "The Dance in Place Congo". The Century Magazine.
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An organization working to sustain Creole music since 1988 is C.R.E.O.L.E., Inc., based in
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Notes d'ethnographie musicale - La Musique chez les peuples indegenes de l'Amerique du Nord
68:
430:
8:
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235:
1745:
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Bertrand, Michael T. (2013). "Cajun and Creole Music". In Edmondson, Jacqueline (ed.).
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large bamboo ... and this is said to be the origin of its name; for it was called the
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Creole vernacular music of the 19th century was adapted by composers into art songs.
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Current practitioners of Creole music, including la la and/or zydeco, include:
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in the 1920s and 1930s. Other notable Black Creole musicians of this era were
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based on "Musieu Bainjo" and "Tan Patate-lĂ Tcuite" ("Quan' patate la cuite").
31:
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36:
1198:"Let the Good Times Unroll: Music and Race Relations in Southwest Louisiana"
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Florence E. Borders, "Researching Creole and Cajun Musics in New Orleans",
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512:(1867) the earliest known compilation; 7 unaccompanied melodies with words.
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269:
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Allen, William Francis; Charles Pickard Ware; Lucy McKim Garrison (1867).
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329:
324:. Gottschalk was closely associated with the Cuban pianist and composer,
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Black Creole musicians were often hired for white parties. Accordionist
454:; the name and the dance are probably both of African origin. When the
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Sean and Chris Ardoin - Creole memories of Bois Sec and Amédé Ardoin
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242:, from France. In 1809 and 1810, more than 10,000 refugees from the
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Central to Creole musical activities was Place Congo (in English:
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contains several Creole folk songs not found elsewhere, notably "
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Doris E. McGinty and Camille Nickerson, "The Louisiana Lady",
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Afro-American Folksongs: A Study in Racial and National Music
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arrived in New Orleans, most originally from French-speaking
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Hommage à Amédé Ardoin - Musique créole accordéon diatonique
917:"Bamboula, danse des nègres for piano, Op. 2, D. 13 (RO 20)"
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1531:
1412:
Historical Notes for African-American and Jamaican Melodies
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321:
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St. Charles Parish, where the seven songs were once sung.
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Contemporary Louisiana Cajun, Creole and Zydeco Musicians
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Whitfield, Irène Thérèse (1939). "6, Creole Folk Songs".
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which have persisted as 20th- and 21st-century la la and
1376:
Canray Fontenot - Les Barres De La Prison with interview
1338:
Bamboula! The Life and Times of Louis Moreau Gottschalk
347:
Louis Moreau Gottschalk pictured on an 1864 publication
198:) is used to refer to two distinct musical traditions:
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878:
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Queen Ida and The Bon Temps Zydeco Band - Rosa Majeur
777:, Freeman Fontenot, Preston Frank, and Ed Poullard.
370:
based on "Lolotte", also known as "Pov'piti Lolotte".
1470:
1371:
Zydeco: Creole Music and Culture in Rural Louisiana
788:combined la la with other traditions, particularly
202:adapted from 19th-century vernacular music; or the
1128:
1042:Creole songs from New Orleans in the negro-dialect
976:
886:
640:Creole Songs from New Orleans in the Negro-Dialect
516:Creole Songs from New Orleans in the Negro-Dialect
979:America's music, from the pilgrims to the present
893:(revised second ed.). New York: McGraw-Hill.
889:America's Music, from the Pilgrims to the Present
573:..."suitable and attractive for concert singers."
500:Compilations and arrangements of Creole art songs
387:(revised third edition, page 290), Chase writes:
1805:
1104:
1102:
951:. University of Illinois Press. pp. 74–77.
685:Bayou Ballads: Twelve Folk-Songs from Louisiana
556:Bayou Ballads: Twelve Folk-Songs from Louisiana
416:Regarding "Misieu Bainjo", used in Gottschalk's
1326:, Greenwood Press, Westport, Connecticut, 2002.
1111:Bayou Ballads: Twelve Folk-Songs from Louisiana
1607:
1456:
1301:George W. Cable, "The Dance in Place Congo",
1289:Swamp Pop: Cajun and Creole Rhythm and Blues
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780:Around the mid-20th century, innovators like
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431:Archive of Folk Culture, Library of Congress
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1324:Louis Moreau Gottschalk, a Bio-Bibliography
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250:. Of these, about 3,000 were freed slaves.
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1163:: CS1 maint: location missing publisher (
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1398:, from Louisiana State University Eunice.
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1072:(Fourth ed.). New York: G. Schirmer.
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234:In 1803, the United States purchased the
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983:. Urbana: University of Illinois Press.
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437:Good Hope Plantation, St. Charles Parish
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1404:, George Washington Cable's article in
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591:, Chapter 6: "Creole Folk Songs" (1939)
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1305:vol. 31, Feb., 1886, pp. 517–532.
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1237:Cajun Music: A Reflection of a People
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1075:Alternate copy hosted by Google Books
1026:Alternate copy hosted by Google Books
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860:, fiddler, accordionist, and vocalist
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1312:, vo. 7, no. 1 (Spring, 1979) 81-94.
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221:
1040:Peterson, Clara Gottschalk (1902).
445:, according to a note on page 113,
272:). The much quoted 1886 article by
13:
1186:
296:
14:
1845:
1364:
1358:Creole Music Man: Bois Sec Ardoin
1333:, Harvard University Press, 1925.
702:(Chapter 6: "Creole Folk Songs")
526:, (1910); this scholarly work by
1340:, Oxford University Press, 2000.
1331:On the Trail of Negro Folk-Songs
1012:Slave Songs of the United States
624:Slave Songs of the United States
510:Slave Songs of the United States
443:Slave Songs of the United States
1472:Louisiana roots music and dance
1253:
1239:. Vol. 2. Bluebird Press.
1228:
1171:
1310:The Black Perspective in Music
1151:Creole Songs of the Deep South
897:
716:Creole Songs of the Deep South
595:Creole Songs of the Deep South
1:
1298:, vol. 8, no. 1 (1988) 15-31.
1044:. New Orleans: L. Grunewald.
871:
533:Chanson nègre de la Louisiane
1296:Black Music Research Journal
1202:Black Music Research Journal
945:Starr, S. Frederick (2000).
484:During the 1930s and 1940s,
7:
1131:Louisiana French Folk Songs
851:, accordionist and vocalist
845:, accordionist and vocalist
833:, accordionist and vocalist
827:, accordionist and vocalist
815:, accordionist and vocalist
700:Louisiana French Folk Songs
589:Louisiana French Folk Songs
230:Congo Square in New Orleans
214:in addition to influencing
10:
1850:
763:Alphonse "Bois Sec" Ardoin
727:
536:" obtained from Professor
441:Songs numbered 130-136 in
375:Le Bananier, chanson nègre
357:Bamboula, danse des nègres
15:
1819:20th-century music genres
1814:19th-century music genres
1756:
1692:
1629:
1478:
1429:in The Handbook of Texas.
1235:Savoy, Ann Allen (2020).
1089:Cuney-Hare, Maud (1921).
796:, to create a new genre,
409:Le Mancenillier, sérénade
404:Clara Gottschalk Peterson
276:offers this description:
261:accent of Spain, and the
162:
157:
116:
105:
61:
47:
41:diatonic button accordion
29:
25:Creole music of Louisiana
24:
18:Creolization § Music
1834:Louisiana Creole culture
1319:, Oberlin College, 1932.
1149:Wehrmann, Henri (1946).
1113:. New York: G. Schirmer.
366:La Savane, ballad crèole
1402:Creole Songs Cable Sang
948:Louis Moreau Gottschalk
885:Chase, Gilbert (1966).
839:, guitarist and fiddler
724:Creole vernacular music
655:Afro-American Folksongs
544:Afro-American Folksongs
311:Louis Moreau Gottschalk
305:Louis Moreau Gottschalk
274:George Washington Cable
208:Louisiana Creole people
109:18th – 19th centuries,
1694:African-American music
1353:, Heugel, Paris, 1933.
1196:Mattern, Mark (1997).
821:and the Creole Cowboys
804:Contemporary musicians
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532:
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470:Alcée Louis la Branche
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400:
348:
326:Manuel Saumell Robredo
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231:
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53:
1329:Dorothy Scarborough,
1282:Additional references
1109:Monroe, Mina (1921).
1092:Six Creole Folk-Songs
748:After the Civil War,
670:Six Creole Folk-Songs
561:
550:Six Creole Folk-Songs
447:
389:
346:
278:
229:
1406:The Century Magazine
1336:S. Frederick Starr,
1095:. New York: Fischer.
866:Lafayette, Louisiana
69:Music of West Africa
1824:American folk music
1623:American folk music
1576:New Orleans R&B
1566:New Orleans hip hop
1315:Camille Nickerson,
1261:"C.R.E.O.L.E., Inc"
854:Mitch Reed, fiddler
765:, Douglas Bellard,
236:Louisiana Territory
117:Typical instruments
1829:Music of Louisiana
1433:C.R.E.O.L.E., Inc.
1287:Shane K. Bernard,
480:The Louisiana Lady
349:
328:, a master of the
255:syncopated rhythms
232:
1801:
1800:
1589:
1588:
1554:New Orleans blues
1322:James E. Perone,
1265:C.R.E.O.L.E., Inc
1246:978-0-930169-02-2
819:Jeffery Broussard
721:
720:
486:Camille Nickerson
420:, the editors of
338:Jelly Roll Morton
222:Early development
184:
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74:French folk music
62:Stylistic origins
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1571:New Orleans soul
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1442:
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1408:, February 1886.
1360:, Xlibris, 2003.
1349:Julien Tiersot,
1303:Century Magazine
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794:rhythm and blues
773:, Claude Faulk,
626:(final 7 songs)
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106:Cultural origins
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1437:Creole Magazine
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1356:Ching Veillon,
1351:Chansons Nègres
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919:. All music.com
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775:Canray Fontenot
771:Calvin Carrière
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579:Chansons Nègres
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385:America's Music
309:At the time of
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297:Creole art song
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1208:(2): 159–168.
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755:Amédé Ardoin
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267:
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238:, including
233:
188:Creole music
187:
185:
1660:(1950s–60s)
1634:Appalachian
1581:Second line
1559:Swamp blues
1493:Cajun music
1488:Brass Bands
1019:January 11,
915:All Music.
849:Beau Jocque
831:Keith Frank
734:Cajun music
422:Slave Songs
392:Le Bananier
330:contradanza
265:of France.
244:West Indies
240:New Orleans
216:Cajun music
48:Native name
1808:Categories
1788:Rockabilly
1783:Honky-tonk
1771:Roots rock
1741:Spirituals
1669:New Mexico
1270:2024-03-02
958:0252068769
872:References
740:a cappella
728:See also:
494:New Iberia
488:performed
424:write "...
204:vernacular
39:playing a
16:See also:
1778:Bluegrass
1766:Americana
1712:Dixieland
1651:Swamp pop
1537:Dixieland
1508:Swamp pop
1498:Cajun Jig
1159:cite book
1050:1802/5917
505:follows:
490:art songs
413:Op. 11."
397:Bamboula.
263:quadrille
200:art songs
186:The term
158:Subgenres
144:accordion
111:Louisiana
1674:Red dirt
1639:Old-time
975:(1987).
843:Joe Hall
745:music.
461:danseuse
418:Bamboula
291:bamboula
283:Bamboula
259:habanera
177:art song
139:Triangle
134:rubboard
1736:Ragtime
1684:Western
1182:. Gale.
456:Coonjai
452:Coonjai
1746:Gospel
1724:Zydeco
1719:Creole
1679:Tejano
1520:Zydeco
1483:Bounce
1427:Zydeco
1243:
1222:779367
1220:
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923:5 July
798:zydeco
730:Zydeco
597:(1946)
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552:(1921)
546:(1915)
518:(1902)
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257:, the
212:zydeco
192:French
173:zydeco
149:guitar
129:fiddle
124:Vocals
1702:Blues
1646:Cajun
1218:JSTOR
790:blues
707:1946
691:1939
676:1921
661:1921
646:1915
631:1902
615:1867
607:Code
604:Date
248:Haiti
169:la la
97:Blues
1707:Jazz
1532:Jazz
1241:ISBN
1165:link
1021:2009
985:ISBN
953:ISBN
925:2012
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