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Creole Music

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Zydeco - The accordion and rub board led sound of South Louisiana's Creoles. Zydeco was forged by luminaries such as Clifton Chenier, Rockin' Dopsie, Sr., Boozoo Chavis. A sort of twin to Cajun music but with a rhythm and blues sound. The music called jazz emerged as a fruitful interaction between black folk music in
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the USA, often derived from the plantations and rural areas, and black Creole music based in urban New Orleans. The field hollers met parlour music. Negro spirituals met those who liked the opera. Those who played low-down blues met
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those who danced the waltz, the mazurka, the polka and the quadrille. In the parades, the funeral dirges, the popular songs for picnics and parties, jazz developed as a Creole music par excellence. The honky tonks, the brothels, the picnic grounds, parks and the streets of New Orleans were the testing grounds for

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a music that first captured the American South, then generated what is probably the world’s most powerful music form since the development of European classical music (Collier 1978: 59−64). The recordings made by Joseph ‘King’ Oliver’s Creole
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Jazz Band in the early 1920s were one of the most influential fonts of jazz, which subsequently spread to other parts of the USA before spreading worldwide. Other forms of Creole music include Sega in Mauritius; Calypso in Trinidad; Morna in Cape Verdes; Zydeco music in Louisiana; Contombley percussion in the Seychelles; Son and Changui music in Cuba; and Samba, Capoeira and Maracatu music in Brazil.
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