1.
Ballad
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A ballad /ˈbæləd/ is a form of verse, often a narrative set to music. Ballads derive from the medieval French chanson balladée or ballade, which were originally danced songs, Ballads were particularly characteristic of the popular poetry and song of the British Isles from the later medieval period until the 19th century. They were widely used across Europe, and later in the Americas, Australia, Ballads are 13 lines with an ABABBCBC form, consisting of couplets of rhymed verse, each of 14 syllables. Many ballads were written and sold as single sheet broadsides, the form was often used by poets and composers from the 18th century onwards to produce lyrical ballads. In the later 19th century, the took on the meaning of a slow form of popular love song and is now often used for any love song. The ballad derives its name from medieval French dance songs or ballares, from which ballet is also derived, as a narrative song, their theme and function may originate from Scandinavian and Germanic traditions of storytelling that can be seen in poems such as Beowulf. Musically they were influenced by the Minnesinger, the earliest example of a recognizable ballad in form in England is Judas in a 13th-century manuscript. This means that the two words, ballad and ballet, are derived from the French language. Ballads were originally written to accompany dances, and so were composed in couplets with refrains in alternate lines and these refrains would have been sung by the dancers in time with the dance. Most northern and west European ballads are written in ballad stanzas or quatrains of alternating lines of iambic tetrameter and iambic trimeter, known as ballad meter. Usually, only the second and fourth line of a quatrain are rhymed, there is considerable variation on this pattern in almost every respect, including length, number of lines and rhyming scheme, making the strict definition of a ballad extremely difficult. Ballads usually use the dialect of the people and are heavily influenced by the region in which they originate. Scottish ballads in particular are distinctively un-English, even showing some pre-Christian influences in the inclusion of elements such as the fairies in the Scottish ballad Tam Lin. The ballads do not have any known author or correct version, instead, having passed down mainly by oral tradition since the Middle Ages. The ballads remained a tradition until the increased interest in folk songs in the 18th century led collectors such as Bishop Thomas Percy to publish volumes of popular ballads. In all traditions most ballads are narrative in nature, with a story, often concise, and rely on imagery, rather than description. Themes concerning rural laborers and their sexuality are common, and there are many ballads based on the Robin Hood legend. Another common feature of ballads is repetition, sometimes of fourth lines in succeeding stanzas, as a refrain, sometimes of third and fourth lines of a stanza and sometimes of entire stanzas
2.
Cajuns
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Cajuns are an ethnic group mainly living in the U. S. state of Louisiana, consisting of the descendants of Acadian exiles. Today, the Cajuns make up a significant portion of south Louisianas population and have exerted an impact on the states culture. The Acadia region to which modern Cajuns trace their origin consisted largely of what are now Nova Scotia, New Brunswick, Prince Edward Island plus parts of eastern Quebec and northern Maine. Since their establishment in Louisiana, the Cajuns have developed their own dialect, Cajun French, and developed a vibrant culture including folkways, music, the Acadiana region is heavily associated with them. Arcadia derives from the Arcadia district in Greece which since classical antiquity had the extended meanings of refuge or idyllic place, samuel de Champlain fixed the orthography with the r omitted in the 17th century. The term eventually came to only to the northern part of the coast in what is now Canada. The Cajuns retain a unique dialect of the French language and numerous other cultural traits that distinguish them as an ethnic group, Cajuns were officially recognized by the U. S. government as a national ethnic group in 1980 per a discrimination lawsuit filed in federal district court. The Louisiana Acadian is alive and well and he is up front and mainstream. He is not asking for any special treatment, by affording coverage under the national origin clause of Title VII he is afforded no special privilege. He is given only the protection as those with English, Spanish, French, Iranian, Portuguese, Mexican, Italian, Irish. The British Conquest of French Acadia happened in 1710, over the next 45 years, the Acadians refused to sign an unconditional oath of allegiance to Britain. During this period, Acadians participated in militia operations against the British and maintained vital supply lines to the French fortress of Louisbourg. During the French and Indian War, the British sought to neutralize the Acadian military threat, during 1755-1763 Acadia consisted of parts of present-day Canada, Nova Scotia, New Brunswick, Prince Edward Island, and the Gaspe Peninsula in the province of Quebec. The deportation of the Acadians from these areas has become known as the Great Upheaval or Le Grand Dérangement, the Acadians migration from Canada was spurred by the Treaty of Paris which ended the war. The treaty terms provided 18 months for unrestrained emigration, many Acadians moved to the region of the Atakapa in present-day Louisiana, often travelling via the French colony of Saint-Domingue. Joseph Broussard led the first group of 200 Acadians to arrive in Louisiana on February 27,1765, on April 8,1765, he was appointed militia captain and commander of the Acadians of the Atakapas region in St. Martinville. Some of the settlers wrote to their family scattered around the Atlantic to encourage them to them at New Orleans. For example, Jean-Baptiste Semer, wrote to his father in France, My dear father you can come here boldly with my dear mother and they will always be better off than in France
3.
Louisiana (New Spain)
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Louisiana was the name of an administrative district of the Viceroyalty of New Spain from 1762 to 1802 that consisted of territory west of the Mississippi River basin, plus New Orleans. Spain acquired the territory from France, who had named it La Louisiane in honor of King Louis XIV in 1682 and it is sometimes known as Spanish Louisiana. The district was retroceded to France, under the terms of the Third Treaty of San Ildefonso, in 1802, King Charles IV of Spain published a royal bill on 15 October, effecting the transfer and outlining the conditions. However, Spain agreed to continue administering the colony until French officials arrived and formalized the transfer. The ceremony was conducted at the Cabildo in New Orleans on 30 November 1803, Spain was largely a benign absentee landlord administering it from Havana, Cuba, and contracting out governing to people from many nationalities as long as they swore allegiance to Spain. During the American War of Independence, the Spanish funneled their supplies to the American revolutionists through New Orleans, in keeping with being absentee landlords, Spanish efforts to turn Louisiana into a Spanish colony were usually fruitless. For instance, while Spanish officially was the language of government. Even official business conducted at the Cabildo often lapsed into French, when Alejandro OReilly re-established Spanish rule in 1769, he issued a decree on December 7,1769, which banned the trade of Native American slaves. Although there was no movement toward abolition of the African slave trade, Spanish rule introduced a new law called coartación, which allowed slaves to buy their freedom, and that of others. A group of maroons led by Jean Saint Malo resisted re-enslavement from their base in the swamps east of New Orleans between 1780 and 1784, on May 4,1795,57 slaves and three local white men were put on trial in Point Coupee. Spanish colonial officials divided Luisiana into Upper Louisiana and Lower Louisiana at 36°35 North, in 1764, French fur trading interests founded St. Louis in what was then known as the Illinois Country. The Spanish referred to St. Louis as the city of Illinois, in 1778, several ships embarked for Louisiana with hundreds of settlers. The ships made stops in Havana and Venezuela, where half the settlers disembarked, in the end, between 2,100 and 2,736 Canarians arrived in Louisiana and settled near New Orleans. They settled in Barataria and in what is today St. Bernard Parish, however, many settlers were relocated for various reasons. Barataria suffered hurricanes in 1779 and in 1780, it was abandoned, in 1782, a splinter group of the Canarian settlers in Saint Bernard emigrated to Valenzuela. In 1779, another ship with 500 people from Málaga, arrived in Spanish Louisiana and these colonists, led by Lt. Col. Francisco Bouligny, settled in New Iberia, where they intermarried with Cajun settlers. In 1782, during the American Revolutionary War and the Anglo-Spanish War, Bernardo de Gálvez recruited men from the Canarian settlements of Louisiana and Galveston to join his forces. They participated in three military campaigns, the Baton Rouge, the Mobile, and the Pensacola, which expelled the British from the Gulf Coast
4.
New Spain
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New Spain was a colonial territory of the Spanish Empire, in the New World north of the Isthmus of Panama. It was established following the Spanish conquest of the Aztec Empire in 1521, after 1535 the colony was governed by the Viceroy of New Spain, an appointed minister of the King of Spain, who ruled as monarch over the colony. The capital of New Spain was Mexico City and it developed highly regional divisions, which reflect the impact of climate, topography, the presence or absence of dense indigenous populations, and the presence or absence of mineral resources. The areas of central and southern Mexico had dense indigenous populations with complex social, political, silver mining not only became the engine of the economy of New Spain, but vastly enriched Spain, and transformed the global economy. New Spain was the New World terminus of the Philippine trade, although New Spain was a dependency of Spain, it was a kingdom not a colony, subject to the presiding monarch on the Iberian Peninsula. Every privilege and position, economic political, or religious came from him and it was on this basis that the conquest, occupation, and government of the New World was achieved. The Viceroyalty of New Spain was established in 1535 in the Kingdom of New Spain and it was the first New World viceroyalty and one of only two in the Spanish empire until the 18th century Bourbon Reforms. The Spanish Empire comprised the territories in the north overseas Septentrion, from North America, to the west of the continent, New Spain also included the Spanish East Indies. To the east of the continent, it included the Spanish West Indies and this was not occupied by many Spanish settlers and were considered more marginal to Spanish interests than the most densely populated and lucrative areas of central Mexico. To shore up its claims in North America starting in the late 18th century, Spanish expeditions to the Pacific Northwest explored and claimed the coast of what is now British Columbia and Alaska. The indigenous societies of Mesoamerica brought under Spanish control were of unprecedented complexity, the societies could provide the conquistadors, especially Hernán Cortés, a base from which the conquerors could become autonomous, or even independent, of the Crown. As a result, the Holy Roman Emperor and King of Spain, since the time of the Catholic Monarchs, central Iberia was governed through councils appointed by the monarch with particular jurisdictions. Thus, the creation of the Council of the Indies became another, the crown had set up the Casa de Contratación in 1503 to regulate contacts between Spain and its overseas possessions. A key function was to gather information about navigation to make trips less risky and they were accompanied by maps of the area discussed, many of which were drawn by indigenous artists. The Francisco Hernández Expedition, the first scientific expedition to the New World, was sent to gather information medicinal plants, an earlier Audiencia had been established in Santo Domingo in 1526 to deal with the Caribbean settlements. That Audiencia, housed in the Casa Reales in Santo Domingo, was charged with encouraging further exploration, management by the Audiencia, which was expected to make executive decisions as a body, proved unwieldy. Therefore, in 1535, King Charles V named Don Antonio de Mendoza as the first Viceroy of New Spain. After the Spanish conquest of the Inca Empire in 1532 opened up the vast territories of South America to further conquests, the Crown established an independent Viceroyalty of Peru there in 1540
5.
Cajun accordion
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A Cajun accordion also known as a squeezebox is single-row diatonic button accordion used for playing Cajun music. Many different accordions were developed in Europe throughout the 19th century, accordions were brought to Acadiana in the 1890s and became popular by the early 1900s, eventually becoming a staple of Cajun music. Many of the German factories producing diatonic accordions for the United States market were destroyed during World War II, since the end of World War II, there has been a surge in the number of Cajun accordion makers in Louisiana, as well as several in Texas. The Cajun accordion is generally defined as a diatonic accordion, as compared to multiple-row instruments commonly used in Irish, Italian, polka. The Cajun accordion has multiple reeds for every button and the number of reeds sounding is controlled by four stops or knobs. The standard amount of buttons is ten, with a button each in the left hand for the root note and chord as well as the dominant fifth ditto. The root is played on the push and the fifth is played on the pull of the bellows, Louisiana constructed accordions are usually built in small backyard shops like Marc Savoys Acadian brand and Larry Millers Bon Cajun brand. Clarence junior Martin of Lafayette Louisiana is a Master Craftsman who also builds accordions in his shop, the most common tuning utilized is the key of C, although the key of D is also relatively common. Some rarer accordions are constructed to in the key of B flat, Cajun accordions are traditionally tuned to a Just Intonation. Although the instrument is called a Cajun accordion, both zydeco and creole musicians play the Cajun accordion with a zydeco and creole sound respectively, each musician below is considered important in influencing accordion technique and image. You Can Play Cajun Accordion, Designed For Beginners, Cajun Music a Reflection of a People
6.
Fiddle
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Fiddle is another name for the bowed string musical instrument more often called a violin. It is also a term for the instrument used by players in all genres. Fiddle playing, or fiddling, refers to various styles of music, Fiddle is also a common term among musicians who play folk music on the violin. The fiddle is part of traditional styles of music which are aural traditions. There are few distinctions between violins and fiddles, though more primitively constructed and smaller violins are more likely to be considered fiddles. In order to produce a tone, compared to the deeper tones of gut or synthetic core strings. Among musical styles, fiddling tends to produce rhythms focused on dancing, with associated quick note changes, whereas classical music tends to contain more vibrato and it is less common for a classically trained violinist to play folk music, but today, many fiddlers have classical training. The medieval fiddle emerged in 10th-century Europe, deriving from the Byzantine lira, lira spread widely westward to Europe, in the 11th and 12th centuries European writers use the terms fiddle and lira interchangeably when referring to bowed instruments. During the Renaissance the gambas were important and elegant instruments, they eventually lost ground to the viola da braccio family. The etymology of fiddle is uncertain, the Germanic fiddle may derive from the same early Romance word as does violin, the name seems however to be related to Icelandic Fiðla and also Old English fiðele. A native Germanic ancestor of fiddle may even be the ancestor of the early Romance form of violin, historically, fiddle also referred to a predecessor of todays violin. Like the violin, it tended to have four strings, another family of instruments that contributed to the development of the modern fiddle are the viols, which are held between the legs and played vertically, and have fretted fingerboards. Violins, on the hand, are commonly grouped in sections. The difference was likely compounded by the different sounds expected of violin music, historically, the majority of fiddle music was dance music, while violin music had either grown out of dance music or was something else entirely. Violin music came to value a smoothness that fiddling, with its dance-driven clear beat, in situations that required greater volume, a fiddler could push their instrument harder than could a violinist. In the very late 20th century, a few artists have attempted a reconstruction of the Scottish tradition of violin and big fiddle. Notable recorded examples include Iain Fraser and Christine Hanson, Amelia Kaminski and Christine Hansons Bonnie Lasses and Alasdair Fraser and Natalie Haas Fire and Grace. In Hungary, a three stringed viola variant with a bridge, called the kontra or háromhúros brácsa makes up part of a traditional rhythm section in Hungarian folk music
7.
Steel guitar
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Steel guitar is a type of guitar or the method of playing the instrument. The term steel guitar is often used to describe any metal body resophonic guitar. Steel guitar can describe, The slide technique of playing guitar is generally by using a steel bar. Dobro is also a name of one of the leading manufacturers of resonator guitars. A specialized instrument built for playing in steel guitar fashion and these are of several types, Lap steel guitar, which may be, Lap slide guitar, with a conventional wooden guitar box. The square-necked variety of resonator guitar, the technique was invented and popularized in Hawaii. Thus, the lap steel guitar is known as the Hawaiian guitar, particularly in documents from the early 20th century. Steel guitar tunings tend to feature close intervals whereas slack key tunings more often contain 4ths and 5ths, dobro is a brand of resonator guitars, but the word is most often used to describe bluegrass instruments of several different brands. Bottleneck guitar may have developed from Steel guitar technique. The slide is almost never slanted, common bottleneck tunings are open D and E chords. A steel guitar is one designed to be played in steel-guitar fashion, historically, these have been of many types, but two dominate, Resonator guitars, particularly the square-necked variety which can be played only in steel guitar fashion. Electric instruments, starting with electric lap steel guitars and developing through the steel guitar to the pedal steel guitar. The lap steel guitar typically has 6 strings and may have various tunings, originally the standard EBGDAE tuning was changed to allow open i. e. major chord tunings to accommodate using the straight steel bar and not require changing string gauges. Hawaiian tunings evolved from A Major and E Major to E7, C sharp Minor, C sharp Minor 9th, F sharp Minor 9th, B11th and the popular E 13th. Jerry Byrd is credibly the originator of the C6+A7 tuning ECAGEC sharp which allows a wider ranging of chording for Hawaiian and it differs from a conventional or Spanish guitar in having a higher action and often a neck that is square in cross section. The frets, unused in steel style playing, may be replaced by markers, there are three main types, Lap slide guitars, which are acoustic instruments but may have electric pickups for amplification in addition. Resonator guitars, which are acoustic instruments but may have pickups for amplification in addition. Electric lap steel guitars, which are solid body
8.
Guitar
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The guitar is a musical instrument classified as a fretted string instrument with anywhere from four to 18 strings, usually having six. The sound is projected either acoustically, using a wooden or plastic and wood box, or through electrical amplifier. It is typically played by strumming or plucking the strings with the fingers, the guitar is a type of chordophone, traditionally constructed from wood and strung with either gut, nylon or steel strings and distinguished from other chordophones by its construction and tuning. There are three types of modern acoustic guitar, the classical guitar, the steel-string acoustic guitar, and the archtop guitar. The tone of a guitar is produced by the strings vibration, amplified by the hollow body of the guitar. The term finger-picking can also refer to a tradition of folk, blues, bluegrass. The acoustic bass guitar is an instrument that is one octave below a regular guitar. Early amplified guitars employed a body, but a solid wood body was eventually found more suitable during the 1960s and 1970s. As with acoustic guitars, there are a number of types of guitars, including hollowbody guitars, archtop guitars and solid-body guitars. The electric guitar has had a influence on popular culture. The guitar is used in a variety of musical genres worldwide. It is recognized as an instrument in genres such as blues, bluegrass, country, flamenco, folk, jazz, jota, mariachi, metal, punk, reggae, rock, soul. The term is used to refer to a number of chordophones that were developed and used across Europe, beginning in the 12th century and, later, in the Americas. The modern word guitar, and its antecedents, has applied to a wide variety of chordophones since classical times. Many influences are cited as antecedents to the modern guitar, at least two instruments called guitars were in use in Spain by 1200, the guitarra latina and the so-called guitarra morisca. The guitarra morisca had a back, wide fingerboard. The guitarra Latina had a sound hole and a narrower neck. By the 14th century the qualifiers moresca or morisca and latina had been dropped, and it had six courses, lute-like tuning in fourths and a guitar-like body, although early representations reveal an instrument with a sharply cut waist
9.
Triangle (musical instrument)
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The triangle is an idiophone type of musical instrument in the percussion family. It is a bar of metal, usually steel but sometimes other metals like beryllium copper, the instrument is usually held by a loop of some form of thread or wire at the top curve. It was first made around the 16th century in England, on a triangle instrument, one of the angles is left open, with the ends of the bar not quite touching. This causes the instrument to be of indeterminate or not settled or decided pitch and it is either suspended from one of the other corners by a piece of, most commonly, fishing line, leaving it free to vibrate, or hooked over the hand. It is usually struck with a beater, giving a high-pitched. Although the shape is generally in the form of an equilateral triangle. In the early days the triangles did not have an opening and had jingling rings along the lower side, the triangle is often the subject of jokes and one liners in Europe and North America as an archetypal instrument that requires no skill to play. However, triangle parts in music can be very demanding. In the hands of an expert it can be a subtle, a triangle roll, similar to a snare roll, is notated with three lines through the stem of the note. It requires the player to move the wand back and forth in the upper corner. In European classical music, the triangle has been used in the classical orchestra since around the middle of the 18th century. Wolfgang Amadeus Mozart, Joseph Haydn and Ludwig van Beethoven all used it, the first piece to make the triangle really prominent was Franz Liszts Piano Concerto No. 1, where it is used as an instrument in the third movement. In the 19th century, the triangle was used in music by Richard Wagner. Johannes Brahms uses the triangle to particular effect in the movement of his Fourth Symphony. The triangle is used extensively in Hans Rotts Symphony in E major, particularly in the BIS recording, in later recordings, the conductor has reduced its role. Most difficulties in playing the triangle come from the rhythms which are sometimes written for it. Very quiet notes can be obtained by using a much lighter beater — knitting needles are used for the quietest notes
10.
Harmonica
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There are many types of harmonica, including diatonic, chromatic, tremolo, octave, orchestral, and bass versions. A harmonica is played by using the mouth to direct air into or out of one or more holes along a mouthpiece, behind each hole is a chamber containing at least one reed. A harmonica reed is a flat elongated spring typically made of brass, stainless steel, or bronze, when the free end is made to vibrate by the players air, it alternately blocks and unblocks the airway to produce sound. Reeds are pre-tuned to individual pitches, tuning may involve changing a reeds length, the weight near its free end, or the stiffness near its fixed end. Longer, heavier and springier reeds produce deeper, lower sounds, an important technique in performance is bending, causing a drop in pitch by making embouchure adjustments. Such two-reed pitch changes actually involve sound production by the normally silent reed, the basic parts of the harmonica are the comb, reed plates and cover plates. The comb is the body of the instrument, which. The term comb may originate from the similarity between this part of a harmonica and a hair comb, Harmonica combs were traditionally made from wood but now are also made from plastic or metal. Some modern and experimental designs are complex in the way that they direct the air. There is dispute among players about whether comb material affects the tone of a harmonica, among those saying yes are those who are convinced by their ears. Few dispute, however, that comb surface smoothness and air-tightness when mated with the reedplates can greatly affect tone, the main advantage of a particular comb material over another one is its durability. In particular, a comb can absorb moisture from the players breath. This can cause the comb to expand slightly, making the instrument uncomfortable to play, various types of wood and treatments have been devised to reduce the degree of this problem. Much effort is devoted by serious players to restoring wood combs, some players used to soak wooden-combed harmonicas in water to cause a slight expansion, which they intended to make the seal between the comb, reed plates and covers more airtight. Modern wooden-combed harmonicas are less prone to swelling and contracting, players still dip harmonicas in water for the way it affects tone and ease of bending notes. The reed plate is a grouping of several reeds in a single housing, the reeds are usually made of brass, but steel, aluminium and plastic are occasionally used. Individual reeds are usually riveted to the plate, but they may also be welded or screwed in place. Reeds fixed on the side of the reed plate respond to blowing
11.
Bass guitar
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The bass guitar is a stringed instrument played primarily with the fingers or thumb, by plucking, slapping, popping, strumming, tapping, thumping, or picking with a plectrum, often known as a pick. The bass guitar is similar in appearance and construction to a guitar, but with a longer neck and scale length. The four-string bass, by far the most common, is tuned the same as the double bass. The bass guitar is an instrument, as it is notated in bass clef an octave higher than it sounds to avoid excessive ledger lines. Like the electric guitar, the guitar has pickups and it is plugged into an amplifier and speaker on stage, or into a larger PA system using a DI unit. Since the 1960s, the guitar has largely replaced the double bass in popular music as the bass instrument in the rhythm section. While types of basslines vary widely from one style of music to another, many styles of music utilise the bass guitar, including rock, heavy metal, pop, punk rock, country, reggae, gospel, blues, symphonic rock, and jazz. It is often a solo instrument in jazz, jazz fusion, Latin, funk, progressive rock and other rock, the adoption of a guitar form made the instrument easier to hold and transport than any of the existing stringed bass instruments. The addition of frets enabled bassists to play in more easily than on acoustic or electric upright basses. Around 100 of these instruments were made during this period, around 1947, Tutmarcs son, Bud, began marketing a similar bass under the Serenader brand name, prominently advertised in the nationally distributed L. D. Heater Music Company wholesale jobber catalogue of 1948, however, the Tutmarc family inventions did not achieve market success. In the 1950s, Leo Fender, with the help of his employee George Fullerton and his Fender Precision Bass, which began production in October 1951, became a widely copied industry standard. This split pickup, introduced in 1957, appears to have been two mandolin pickups, the pole pieces and leads of the coils were reversed with respect to each other, producing a humbucking effect. Humbucking is a design that electrically cancels the effect of any AC hum, the Fender Bass was a revolutionary new instrument, which could be easily transported, and which was less prone to feedback when amplified than acoustic bass instruments. Monk Montgomery was the first bass player to tour with the Fender bass guitar, roy Johnson, and Shifty Henry with Louis Jordan & His Tympany Five, were other early Fender bass pioneers. Bill Black, playing with Elvis Presley, switched from bass to the Fender Precision Bass around 1957. The bass guitar was intended to appeal to guitarists as well as upright bass players, following Fenders lead, in 1953, Gibson released the first short scale violin-shaped electric bass with extendable end pin, allowing it to be played upright or horizontally. In 1959 these were followed by the more conventional-looking EB-0 Bass, the EB-0 was very similar to a Gibson SG in appearance
12.
Upright bass
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The double bass, or simply the bass, is the largest and lowest-pitched bowed string instrument in the modern symphony orchestra. It is an instrument and is typically notated one octave higher than sounding to avoid excessive ledger lines below the staff. The double bass is the modern bowed string instrument that is tuned in fourths, rather than fifths, with strings usually tuned to E1, A1, D2. The instruments exact lineage is still a matter of some debate, the double bass is a standard member of the orchestras string section, as well as the concert band, and is featured in concertos, solo and chamber music in Western classical music. The bass is used in a range of genres, such as jazz, 1950s-style blues and rock and roll, rockabilly, psychobilly, traditional country music, bluegrass, tango. The double bass is played either with a bow or by plucking the strings, in orchestral repertoire and tango music, both arco and pizzicato are employed. In jazz, blues, and rockabilly, pizzicato is the norm, Classical music uses just the natural sound produced acoustically by the instrument, so does traditional bluegrass. In jazz, blues, and related genres, the bass is typically amplified with an amplifier and speaker, the double bass stands around 180 cm from scroll to endpin. However, other sizes are available, such as a 1⁄2 or 3⁄4 and these sizes do not reflect the size relative to a full size, or 4⁄4 bass, a 1⁄2 bass is not half the size of a bass but is only slightly smaller. It is typically constructed from several types of wood, including maple for the back, spruce for the top and it is uncertain whether the instrument is a descendant of the viola da gamba or of the violin, but it is traditionally aligned with the violin family. While the double bass is nearly identical in construction to other violin family instruments, like other violin and viol-family string instruments, the double bass is played either with a bow or by plucking the strings. In orchestral repertoire and tango music, both arco and pizzicato are employed, in jazz, blues, and rockabilly, pizzicato is the norm, except for some solos and also occasional written parts in modern jazz that call for bowing. In classical pedagogy, almost all of the focus is on performing with the bow and producing a good bowed tone, some of these articulations can be combined, for example, the combination of sul ponticello and tremolo can produce eerie, ghostly sounds. Classical bass players do play pizzicato parts in orchestra, but these parts generally require simple notes, vibrato is used to add expression to string playing. In general, very loud, low-register passages are played with little or no vibrato, mid- and higher-register melodies are typically played with more vibrato. The speed and intensity of the vibrato is varied by the performer for an emotional and musical effect, in jazz, rockabilly and other related genres, much or all of the focus is on playing pizzicato. In jazz and jump blues, bassists are required to play extremely rapid pizzicato walking basslines for extended periods, as well, jazz and rockabilly bassists develop virtuoso pizzicato techniques that enable them to play rapid solos that incorporate fast-moving triplet and sixteenth note figures. In jazz and related styles, bassists often add semi-percussive ghost notes into basslines, to add to the rhythmic feel and to add fills to a bassline
13.
Swamp pop
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Swamp pop is a musical genre indigenous to the Acadiana region of south Louisiana and an adjoining section of southeast Texas. Created in the 1950s and early 1960s by teenaged Cajuns, it combines New Orleans-style rhythm and blues, country and western, and traditional French Louisiana musical influences. It is not to be confused with swamp rock, which is a genre that drew more on 1960s rock than on the 1950s rhythm. The swamp pop sound is typified by highly emotional, lovelorn lyrics, tripleting honky-tonk pianos, undulating lines, bellowing horn sections. It is exemplified by slow ballads like Cookie and the Cupcakes Mathilda, but the genre has also produced many upbeat compositions, such as Bobby Charles Later Alligator, popularly covered by Bill Haley & His Comets. During the genres heyday, several swamp pop songs appeared on national U. S. record charts, in swamp pops south Louisiana-southeast Texas birthplace, fans regarded many songs that never became national hits as classics. By the late 1950s, swamp pop musicians had developed their own distinct sound and they performed to receptive crowds in local dancehalls like the Southern Club in Opelousas, Landrys Palladium in Lafayette, the OST Club in Rayne, and the Green Lantern in Lawtell. Swamp pop musicians often adopted Anglo-American stage names that masked their Cajun surnames, some of these musicians changed their names because they were ashamed of their rural French heritage — a feeling shared at the time by a segment of the Cajun population. Despite its obvious rock and roll and rhythm & blues influences, joe Barry re-recorded his swamp pop hit Im A Fool To Care in French under the title Je suis bête pour taimer. And Randy and the Rockets issued Lets Do The Cajun Twist, since the genres origin in the mid-1950s, over 20 swamp pop songs have appeared in the Billboard Hot 100. Five of these songs broke into the Top 10, and three of them reached number one, Swamp pop also left its imprint on the related but distinct genre known as swamp blues, including Slim Harpos classic Rainin In My Heart. Swamp pop influenced Tex-Mex music, particularly the recordings of Freddy Fenders early swampy songs like Before The Next Teardrop Falls and Wasted Days and Wasted Nights in 1975. Although the genre began a decline with the onslaught of the British Invasion, swamp pop music continues to draw devoted fans to south Louisiana and southeast Texas festivals. Only a few younger swamp pop musicians, such as Don Rich, are replacing the original generation of swamp pop pioneers, some younger non-swamp musicians, such as Cajun musician Zachary Richard and rockers Marc Broussard and C. C. Adcock, have acknowledged a strong pop influence. Johnnie Allan, Promised Land, Ace 380,1992, Johnnie Allan, Swamp Pop Legend, Johnnie Allan – The Essential Collection, Jin 9044,1995. Rod Bernard, Swamp Pop Legend, Rod Bernard – The Essential Collection, Rod Bernard, Swamp Rock n Roller, Ace 488,1994. The Boogie Kings, Swamp Boogie Blues, Jin 9045,1995, van Broussard, The Early Years, CSP1007,1993
14.
Zydeco
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The origin of the word zydeco is uncertain. One theory is that it derives from the French phrase Les haricots ne sont pas salés, which and this literally translates as the snap beans arent salty but idiomatically as I have no spicy news for you signifying the speakers fatigue or lack of energy. The earliest recorded use of the term may have been the country, initially, several different spellings of the word existed, including zarico and zodico. In 1960, musicologist Robert Mack McCormick wrote liner notes for an album, A Treasury of Field Recordings. The word was used in reviews, and McCormick began publicizing it around Houston as a standard spelling, in an alternative theory the term derives from the Atakapa people, whose enslaved women were well known for forming marital unions with male African slaves in the early 1700s. The Atakapa word for dance is shi and their word for the youths is ishol, in 1528 Spanish people, the first Europeans to contact the Atakapa, translated shi ishol as zy ikol. Four hundred years later, the descendants of Atakapas and Africans would still sway in synchrony to their raucous music. Another possible root word for zydeco is as a West African term for Musicking, however recent studies based on early Louisiana recordings made by Alan and John Lomax suggests that the term, as well as the tradition, may have African origins. The languages of West African tribes affected by the slave trade provide some clues as to the origins of zydeco, in at least a dozen languages from this culture-area of Africa, the phonemes za, re, and go are frequently associated with dancing and/or playing music. As a result, the music integrated waltz, shuffles, two-steps, blues, rock and roll, and other dance music forms of the era. Today, zydeco integrates genres such as R&B, soul, brass band, reggae, hip hop, ska, rock, Afro-Caribbean and other styles, in addition to the traditional forms. The original French settlers came to Louisiana in the late 1600s, sent by the Regent of France, Philippe dOrléans, Duke of Orléans, arriving in New Orleans on seven ships, the settlers quickly moved into the bayous and swamps. There the French culture permeated those of the Irish, Spanish, for 150 years, Louisiana Creoles enjoyed an insular lifestyle, prospering, educating themselves without the government and building their invisible communities under the Code Noir. The French created the Code Noir in 1724 to establish rules for treatment of slaves, as well as restrictions and rights for gens de couleur libres and they had the right to own land, something few blacks in the American South had at that time. The disruption of the Louisiana Creole community began when the United States made the Louisiana Purchase, the new settlers typically recognized only the system of race that prevailed where they came from. When the Civil War ended and the slaves were freed. Creoles continued to press for education and advancement while negotiating the new society, zydecos rural beginnings and the prevailing economic conditions at its inception are reflected in the song titles, lyrics, and bluesy vocals. The music arose as a synthesis of traditional Creole music, some Cajun music influences, and African-American traditions, including R&B, blues, jazz and it was also often just called French music or le musique Creole known as la-la
15.
Music of Louisiana
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The music of Louisiana can be divided into three general regions, rural south Louisiana, home to Creole Zydeco and Old French, New Orleans, and north Louisiana. The region in and around Greater New Orleans has a musical heritage tied to Dixieland jazz, blues. The music of the portion of the state starting at Baton Rouge. Rural south Louisianas music also very significant input from non-Creoles. Four main musical genres are indigenous to this area — Creole music, swamp pop and these historically-rooted genres, with unique rhythms and personalities, have been transformed with modern sounds and instruments. The southwestern and south central Louisiana areas herald many artists and songs that have international hits, won Grammy awards. In the late 19th century German immigrants spreading outward from central and eastern Texas, Creoles at the time sang a rhythmic type of song called juré. When accordion, fiddle and the iron were added later, the music evolved into French music or form la la. La la was primarily rural, played at house dances also known as la las, in 1901, oil was discovered at Jennings and immigration boomed. Despite the law, many Creoles and Cajuns still spoke French at home, the term Creole music is used to describe both the early folk or roots music traditions of French and Metis rural Creoles of South Louisiana and the later more contemporary genre called Zydeco. It was often simply called French music or La La and it was sung in French patois by Creoles. This early American roots music evolved in the 1930s into a richer sound accompanied by more instruments, Creole pioneer Amede Ardoin is said to be the first Creole to record this indigenous music. He has also credited for greatly influencing the foundation of Cajun music. Melodies from pioneers like Ardoin provided a basis for works by composers Louis Moreau Gottschalk and Moses Hogan, Zydeco comes from French les haricots, meaning snap or green beans as in les haricots sont pas salés. This fusion was birthed in the Creole lala, jazz and blues halls of Frenchtown, Houston, Texas which were frequented by Creole immigrants from West Louisiana and East Texas. Cajun music is rooted in the music of the preexisting Creoles, in earlier years of the late 18th century the fiddle was the predominant instrument and the music tended to sound more like early country music. Cajun music is typically a waltz or two step, unlike the folk music of Quebec, it is not associated with the Celtic tradition. In the early 1950s, zydeco evolved from the music of the Creoles in southwest, along with the accordion, the second main instrument in a zydeco group is a corrugated metal washboard, called a Zydeco Rubboard or frottoir
16.
Ballads
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A ballad /ˈbæləd/ is a form of verse, often a narrative set to music. Ballads derive from the medieval French chanson balladée or ballade, which were originally danced songs, Ballads were particularly characteristic of the popular poetry and song of the British Isles from the later medieval period until the 19th century. They were widely used across Europe, and later in the Americas, Australia, Ballads are 13 lines with an ABABBCBC form, consisting of couplets of rhymed verse, each of 14 syllables. Many ballads were written and sold as single sheet broadsides, the form was often used by poets and composers from the 18th century onwards to produce lyrical ballads. In the later 19th century, the took on the meaning of a slow form of popular love song and is now often used for any love song. The ballad derives its name from medieval French dance songs or ballares, from which ballet is also derived, as a narrative song, their theme and function may originate from Scandinavian and Germanic traditions of storytelling that can be seen in poems such as Beowulf. Musically they were influenced by the Minnesinger, the earliest example of a recognizable ballad in form in England is Judas in a 13th-century manuscript. This means that the two words, ballad and ballet, are derived from the French language. Ballads were originally written to accompany dances, and so were composed in couplets with refrains in alternate lines and these refrains would have been sung by the dancers in time with the dance. Most northern and west European ballads are written in ballad stanzas or quatrains of alternating lines of iambic tetrameter and iambic trimeter, known as ballad meter. Usually, only the second and fourth line of a quatrain are rhymed, there is considerable variation on this pattern in almost every respect, including length, number of lines and rhyming scheme, making the strict definition of a ballad extremely difficult. Ballads usually use the dialect of the people and are heavily influenced by the region in which they originate. Scottish ballads in particular are distinctively un-English, even showing some pre-Christian influences in the inclusion of elements such as the fairies in the Scottish ballad Tam Lin. The ballads do not have any known author or correct version, instead, having passed down mainly by oral tradition since the Middle Ages. The ballads remained a tradition until the increased interest in folk songs in the 18th century led collectors such as Bishop Thomas Percy to publish volumes of popular ballads. In all traditions most ballads are narrative in nature, with a story, often concise, and rely on imagery, rather than description. Themes concerning rural laborers and their sexuality are common, and there are many ballads based on the Robin Hood legend. Another common feature of ballads is repetition, sometimes of fourth lines in succeeding stanzas, as a refrain, sometimes of third and fourth lines of a stanza and sometimes of entire stanzas
17.
Acadians
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The Acadians are the descendants of French colonists who settled in Acadia during the 17th and 18th centuries, some of whom are also Métis. The colony was located in what is now Eastern Canadas Maritime provinces, as well as part of Quebec, although today most of the Acadians and Québécois are French-speaking Canadians, Acadia was a distinctly separate colony of New France. It was geographically and administratively separate from the French colony of Canada, as a result, the Acadians and Québécois developed two distinct histories and cultures. They also developed a slightly different French language, France has one official language and to accomplish this they have an administration in charge of the language. Since the Acadians were separated from this council, their French language evolved independently, the settlers whose descendants became Acadians came from many areas in France, but especially regions such as Île-de-France, Normandy, Brittany, Poitou and Aquitaine. Acadian family names have come from areas in France. For example, the Maillets are from Paris, the LeBlancs of Normandy, the surname Melanson is from Brittany, the Acadians lived for almost 80 years in Acadia, prior to the British Conquest of Acadia in 1710. After the conquest, they refused to sign an oath for the next forty-five years. During the French and Indian War, British colonial officers suspected, the British, together with New England legislators and militia, carried out the Great Expulsion of 1755–1764 during and after the war years. They deported approximately 11,500 Acadians from the maritime region, approximately one-third perished from disease and drowning. Although one historian compared this event to contemporary ethnic cleansing, other historians suggested that the event is comparable with other deportations in history, many Acadians migrated to present day Louisiana state, where they developed what became known as Cajun culture. Some of those were settled secondarily to Louisiana by Henri Peyroux de la Coudreniere, later on, many Acadians returned to the Maritime provinces of Canada, most specifically New Brunswick. Most who returned ended up in New Brunswick because they were barred by the British from resettling their lands, before the US Revolutionary War, the Crown settled New England Planters in former Acadian communities and farmland as well as, after the war, Loyalists. British policy was to assimilate Acadians with the local populations where they resettled, Acadians speak a dialect of French called Acadian French. Many of those in the Moncton, New Brunswick, area speak Chiac, during the seventeenth century, about sixty French families were established in Acadia. They developed friendly relations with the Wabanaki Confederacy, learning their hunting and fishing techniques, the Acadians lived mainly in the coastal regions of the Bay of Fundy, farming land reclaimed from the sea through diking. Living in a borderland region between French Quebec and British territories, the Acadians often became entangled in the conflict between the powers. Over a period of years, six wars took place in Acadia and Nova Scotia in which the Confederacy
18.
Canada
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Canada is a country in the northern half of North America. Canadas border with the United States is the worlds longest binational land border, the majority of the country has a cold or severely cold winter climate, but southerly areas are warm in summer. Canada is sparsely populated, the majority of its territory being dominated by forest and tundra. It is highly urbanized with 82 per cent of the 35.15 million people concentrated in large and medium-sized cities, One third of the population lives in the three largest cities, Toronto, Montreal and Vancouver. Its capital is Ottawa, and other urban areas include Calgary, Edmonton, Quebec City, Winnipeg. Various aboriginal peoples had inhabited what is now Canada for thousands of years prior to European colonization. Pursuant to the British North America Act, on July 1,1867, the colonies of Canada, New Brunswick and this began an accretion of provinces and territories to the mostly self-governing Dominion to the present ten provinces and three territories forming modern Canada. With the Constitution Act 1982, Canada took over authority, removing the last remaining ties of legal dependence on the Parliament of the United Kingdom. Canada is a parliamentary democracy and a constitutional monarchy, with Queen Elizabeth II being the head of state. The country is officially bilingual at the federal level and it is one of the worlds most ethnically diverse and multicultural nations, the product of large-scale immigration from many other countries. Its advanced economy is the eleventh largest in the world, relying chiefly upon its abundant natural resources, Canadas long and complex relationship with the United States has had a significant impact on its economy and culture. Canada is a country and has the tenth highest nominal per capita income globally as well as the ninth highest ranking in the Human Development Index. It ranks among the highest in international measurements of government transparency, civil liberties, quality of life, economic freedom, Canada is an influential nation in the world, primarily due to its inclusive values, years of prosperity and stability, stable economy, and efficient military. While a variety of theories have been postulated for the origins of Canada. In 1535, indigenous inhabitants of the present-day Quebec City region used the word to direct French explorer Jacques Cartier to the village of Stadacona, from the 16th to the early 18th century Canada referred to the part of New France that lay along the St. Lawrence River. In 1791, the area became two British colonies called Upper Canada and Lower Canada collectively named The Canadas, until their union as the British Province of Canada in 1841. Upon Confederation in 1867, Canada was adopted as the name for the new country at the London Conference. The transition away from the use of Dominion was formally reflected in 1982 with the passage of the Canada Act, later that year, the name of national holiday was changed from Dominion Day to Canada Day
19.
Louisiana Creole people
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Louisiana Creole people, are persons descended from the inhabitants of colonial Louisiana during the period of both French and Spanish rule. The term creole was originally used by French settlers to distinguish persons born in Louisiana from those born in the country or elsewhere. As in many other societies around the world, creole was a term used to mean those who were native-born. It also came to be applied to African-descended slaves and Native Americans who were born in Louisiana, Louisiana Creoles share cultural ties, such as the traditional use of the French language and a predominance of practice of Catholicism. As more refugees were allowed in Louisiana, Haitian émigrés who had first gone to Cuba also arrived and these groups had strong influences on the city and its culture. Later immigrants to New Orleans, such as Irish, Germans and Italians, Louisiana Creoles are mostly Catholic in religion. Through the 19th century, most spoke French and were connected to French colonial culture. Only the small Spanish Creole communities of Saint Bernard Parish and Galveztown spoke Spanish and they have maintained cultural traditions from the Canary Islands, where their ancestors came from, to the present. The varieties of Louisiana Creoles shaped the culture, particularly in the southern areas around New Orleans. Louisiana is known as the Creole State, other enclaves of Creole culture have been located in south Louisiana, Frilot Cove, Bois Mallet, Grand Marais, Palmetto, Lawtell, Soileau and others. These communities have had a history of cultural independence. Another area where many creoles can be found is within the River Parishes, St. Charles, St. John, and St. James. Through both the French and Spanish regimes, parochial and colonial governments used the term Creole for ethnic French, parisian French was the predominant language among colonists in early New Orleans. Later the regional French evolved to contain local phrases and slang terms, the French Creoles spoke what became known as Colonial French. Because of isolation, the language in the colony developed differently from that in France and it was spoken by the ethnic French and Spanish and their Creole descendants. The commonly accepted definition of Louisiana Creole today is a person descended from ancestors in Louisiana before the Louisiana Purchase by the United States in 1803. An estimated 7,000 European immigrants settled in Louisiana during the 18th century, Louisiana attracted considerably fewer French colonists than did its West Indian colonies. After the crossing of the Atlantic Ocean, which lasted more than two months, the colonists had numerous challenges ahead of them in the Louisiana frontier
20.
Acadiana
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Acadiana, or The Heart of Acadiana, is the official name given to the French Louisiana region that is home to a large Francophone population. Many are of Acadian descent and are now identified as Cajun, of the 64 parishes that make up the U. S. state of Louisiana,22 named parishes and other parishes of similar cultural environment make up this intrastate region. The word Acadiana reputedly has two origins and its first recorded appearance dates to the mid-1950s, when a Crowley, Louisiana, newspaper, the Crowley Daily Signal, coined the term in reference to Acadia Parish, Louisiana. However, KATC television in Lafayette independently coined Acadiana in the early 1960s, giving it a new, broader meaning, founded in 1962, KATC was owned by the Acadian Television Corporation. In early 1963, the ABC affiliate received an invoice erroneously addressed to the Acadiana Television Corp, someone had typed an extra a at the end of the word Acadian. The station started using it to describe the region covered by its broadcast signal, the public, however, prefers the one-word place name Acadiana to refer to the region. The official term appears on maps and highway markers. Today, numerous business, governmental and nonprofit organizations incorporate Acadiana in their names, notably KLFY-TV, the regional CBS affiliate, used the term in its very successful Hello News branding campaign as Hello Acadiana. In 1965, Thomas J. Arceneaux designed a flag for Acadiana, Arceneaux was a professor at University of Southwestern Louisiana, now University of Louisiana at Lafayette. He derived the flag from the university seal, in 1974, the Louisiana legislature officially adopted Arceneauxs design as the official Acadiana flag. The gold tower on the red field represents Spain, which was governing Louisiana when the Acadians arrived, the flag is used in a variety of ways in the Acadiana region. Some local governments fly the flag of Acadiana with their respective local colors, many residents of Acadiana fly the flag on their homes or businesses. Many consider it a symbol of the historic and present socio-economic ties that bind the region, cajuns are the descendants of 18th-century Acadian exiles from what are now Canadas Maritime Provinces, expelled by the British and New Englanders during and after the French and Indian War. They prevail among the regions visible cultures, but not everyone who lives in Acadiana is culturally Acadian or speaks Cajun French, similarly, not everyone who is culturally Acadian or Cajun is descended from the Acadian refugees. German settlers found their way to area as early as 1721. Since the late 20th century, political refugees from southeast Asia have brought their families, cultures, and languages to the area, Acadiana is home to several Native American tribes, including the Chitimacha, Houma, Tunica-Biloxi, Attakapas, and Coushatta. The region also boasts a population of Creoles, descendants of the regions original Old World settlers who arrived in Louisiana before. Acadiana also is home to ethnic groups, including Anglo-Americans
21.
French Louisiana
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Each term has been in use for many years. Colonial French Louisiana was a part of New France, beginning in 1682 this region, known in French as la Louisiane française, functioned as an administrative district of New France. It extended from the Gulf of Mexico to Vincennes, now in Indiana, France ceded the region to Spain and Britain in 1763 after the French and Indian War, regained it by treaty in 1800, and sold it to the United States in 1803 through the Louisiana Purchase. Greater New Orleans and the twenty-two parish cultural region known as Acadiana compose present-day French Louisiana, in addition, some French Louisiana influences can be found in cities adjacent to the region, such as Alexandria and Baton Rouge. Louisiana List of French possessions and colonies
22.
American popular music
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American popular music has had a profound effect on music across the world. In addition, the American music industry is diverse, supporting a number of regional styles such as zydeco, klezmer. These popular styles included country, R&B, jazz and rock, the 1960s and 1970s saw a number of important changes in American popular music, including the development of a number of new styles, such as heavy metal, punk, soul, and hip hop. Though these styles were not in the sense of mainstream, they were recorded and are thus examples of popular music as opposed to folk or classical music. Minstrel shows generally used African instruments and dance, and featured performers with their faces blackened, a technique called blackface. By the middle of the 19th century, touring companies had taken this music not only to part of the United States, but also to the UK, Western Europe. Minstrel shows were advertised as though the music of the shows was in an African American style. However, these important milestones still occurred entirely within the conventions of European music, the first extremely popular minstrel song was Jump Jim Crow by Thomas Daddy Rice, which was first performed in 1832 and was a sensation in London when Rice performed it there in 1836. Rice used a dance that he copied from a boy with a tune adopted from an Irish jig. The African elements included the use of the banjo, believed to derive from West African string instruments, fosters songs were typical of the minstrel era in their unabashed sentimentality, and in their acceptance of slavery. Blackface minstrel shows remained popular throughout the last part of the 19th century, during that time, a form of lavish and elaborate theater called the extravaganza arose, beginning with Charles M. Barras The Black Crook. Extravaganzas were criticized by the newspapers and churches of the day because the shows were considered sexually titillating, david Ewen described this as the beginning of the long and active careers in sex exploitation of American musical theater and popular song. Later, extravaganzas took elements of burlesque performances, which were satiric and parodic productions that were popular at the end of the 19th century. Like the extravaganza and the burlesque, the variety show was a comic and ribald production, popular from the middle to the end of the 19th century, at which time it had evolved into vaudeville. By the early 20th century, vaudeville was an entertainment for women and children. Tin Pan Alley was an area called Union Square in New York City, the songwriters of this era wrote formulaic songs, many of them sentimental ballads. During this era, a sense of consciousness was developing, as the United States became a formidable world power. The increased availability and efficiency of railroads and the postal service helped disseminate ideas, Some of the most notable publishers of Tin Pan Alley included Willis Woodward, M. Witmark & Sons, Charles K. Harris, and Edward B
23.
Country music
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Country music is a genre of United States popular music that originated in the southern United States in the 1920s. It takes its roots from the genre of United States, such as folk music. Blues modes have been used throughout its recorded history. The term country music is used today to many styles and subgenres. In 2009 country music was the most listened to rush hour radio genre during the evening commute, immigrants to the Southern Appalachian Mountains of North America brought the music and instruments of Europe and Africa along with them for nearly 300 years. Country music was introduced to the world as a Southern phenomenon, Bristol, Tennessee, has been formally recognized by the U. S. Congress as the Birthplace of Country Music, based on the historic Bristol recording sessions of 1927. Since 2014, the city has been home to the Birthplace of Country Music Museum, historians have also noted the influence of the less-known Johnson City sessions of 1928 and 1929, and the Knoxville sessions of 1929 and 1930. Prior to these, pioneer settlers, in the Great Smoky Mountains region, had developed a musical heritage. The first generation emerged in the early 1920s, with Atlantas music scene playing a role in launching countrys earliest recording artists. Okeh Records began issuing hillbilly music records by Fiddlin John Carson as early as 1923, followed by Columbia Records in 1924, many hillbilly musicians, such as Cliff Carlisle, recorded blues songs throughout the 1920s. The most important was the Grand Ole Opry, aired starting in 1925 by WSM in Nashville, during the 1930s and 1940s, cowboy songs, or Western music, which had been recorded since the 1920s, were popularized by films made in Hollywood. Bob Wills was another musician from the Lower Great Plains who had become very popular as the leader of a hot string band. His mix of country and jazz, which started out as dance hall music, Wills was one of the first country musicians known to have added an electric guitar to his band, in 1938. Country musicians began recording boogie in 1939, shortly after it had played at Carnegie Hall. Gospel music remained a component of country music. It became known as honky tonk, and had its roots in Western swing and the music of Mexico. By the early 1950s a blend of Western swing, country boogie, rockabilly was most popular with country fans in the 1950s, and 1956 could be called the year of rockabilly in country music. Beginning in the mid-1950s, and reaching its peak during the early 1960s, the late 1960s in American music produced a unique blend as a result of traditionalist backlash within separate genres
24.
Mass media
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The mass media is a diversified collection of media technologies that reach a large audience via mass communication. The technologies through which communication takes place include a variety of outlets. Broadcast media transmit information electronically, via such media as film, radio, recorded music, digital media comprises both Internet and mobile mass communication. Internet media comprise such services as email, social sites, websites. Print media transmit information via physical objects, such as books, comics, magazines, newspapers, event organizing and public speaking can also be considered forms of mass media. The organizations that control these technologies, such as studios, publishing companies. In the late 20th century, mass media could be classified into eight mass media industries, books, the Internet, magazines, movies, newspapers, radio, recordings, and television. The explosion of digital technology in the late 20th and early 21st centuries made prominent the question. For example, it is whether to include cell phones, computer games. In the 2000s, a called the seven mass media became popular. For example, the Internet includes blogs, podcasts, web sites, the sixth and seventh media, Internet and mobile phones, are often referred to collectively as digital media, and the fourth and fifth, radio and TV, as broadcast media. Some argue that video games have developed into a mass form of media. While a telephone is a communication device, mass media communicates to a large group. In addition, the telephone has transformed into a phone which is equipped with Internet access. A question arises whether this makes cell phones a mass medium or simply a device used to access a mass medium. There is currently a system by which marketers and advertisers are able to tap into satellites and this transmission of mass advertising to millions of people is another form of mass communication. Video games may also be evolving into a mass medium, video games provide a common gaming experience to millions of users across the globe and convey the same messages and ideologies to all their users. Users sometimes share the experience with one another by playing online, excluding the Internet however, it is questionable whether players of video games are sharing a common experience when they play the game individually
25.
Advertisement film
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A television advertisement is a span of television programming produced and paid for by an organization, which conveys a message, typically to market a product or service. Advertisers and marketeers may refer to television commercials as TVCs, Advertising revenue provides a significant portion of the funding for most privately-owned television networks. As of 2016 the vast majority of television advertisements consist of advertising spots. Advertisements of this sort have promoted a variety of goods, services. The effects of television advertising upon the public have been the subject of philosophical discourse by such luminaries as Marshall McLuhan. In many countries, including the United States, television advertisements are considered indispensable for a political campaign. In other countries, such as France, political advertising on television is heavily restricted, while some countries, such as Norway, completely ban political advertisements. The announcement for Bulova watches, for which the company paid anywhere from $4.00 to $9.00, displayed a WNBT test pattern modified to look like a clock with the hands showing the time. The Bulova logo, with the phrase Bulova Watch Time, appeared in the lower quadrant of the test pattern while the second hand swept around the dial for one minute. The first TV ad broadcast in the UK went to air on ITV on September 22,1955, the first TV ad broadcast in Asia appeared on Nippon Television in Tokyo on August 28,1953, advertising Seikosha, it also displayed a clock with the current time. To accomplish the first step means different things in different parts of the world depending on the regulation in place, in the UK for example, clearance must be given by the body Clearcast. Another example is Venezuela where clearance is governed by a body called CNAC, the clearance provides guarantee to the broadcasters that the content of the advertisement meets legal guidelines. Because of this, special extended clearance sometimes applies to food, after the advent of cheap video software and consumer cameras, numerous individuals have offered video production services on the internet. Some of these ad jingles or catch-phrases may take on lives of their own, spawning gags that appear in films, television shows, magazines, comics, or literature. These long-lasting advertising elements may be said to have taken a place in the pop culture history of the demographic to whom they appeared. An example is the phrase, Winston tastes good like a cigarette should. Variations of this dialogue and direct references to it appeared as long as two decades after the advertising campaign expired, another example is Wheres the Beef. which grew so popular it was used in the 1984 presidential election by Walter Mondale. Another popular catch-phrase is Ive fallen and I cant get up, Advertising agencies often use humor as a tool in their creative marketing campaigns
26.
History of Cajun music
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This article is about the history of Cajun music, which is not to be confused with Acadian music or French Creole music. Cajun music has its roots based in the ballads of the French-speaking Acadians of Canada, the first form of traditional cajun music began before the 20th century in south Louisiana. When the Acadians came from New Brunswick & Nova Scotia to Louisiana in 1764, many of these songs can be traced back to France and many songs from France drifted to the bayou and the prairie region via Nova Scotia and New Orleans. These ballads are not widely performed today, but were the basis of what is now accepted as cajun music, in the late 19th century, affordable accordions were introduced into Louisiana and were adopted by both Cajun and Creole musicians. Cajun and Creole musical styles at this time grew in parallel, mostly two-steps and waltzes meant for dancing, played by accordion and fiddle. Some of the first accordions imported in America were Lester, Pine Tree and Bruno brands and these were assembled in Klingenthal, Saxony, Germany by several different families. They were les tit noirs, meaning the black ones. They were a bit smaller than some of the brands and were all black with pewter trim. They were the best ever at that time, later the Sterling family bought the factory in about the 1920s, then the Eagle family operated the factory, but both were virtually the same instrument as the Monarch, except for the name. During World War II, the Nazi government focused on building its war machine, eventually, the factories were bombed by the allies effectively ending the production of these accordions. The first recorded Cajun song, Allons à Lafayette was recorded in 1928 by Joe Falcon, standard versions of songs started to emerge due to the increase in the availability of phonographs. Some of the earliest recordings of Cajun music that exist were done in Louisiana during the late 1920s by noted historian and American folklorist Alan Lomax, by the mid-to-late 1930s, a large influx of English speaking people came for the oil fields in Southwest Louisiana. Also, a migration of French speaking Cajuns expanded to Texas. It was common for performers to sing in both French and English and borrow heavily from the country music and Texas swing music on the radio. Harry Choates recorded the first national Cajun hit song, Jolie Blonde, newman, Rufus Thibodeaux, Doug Kershaw, Jo-El Sonnier, and others. During the 1970s and beyond the trend continued, sometimes with elements of music of the day. A performance by Dewey Balfa, Gladius Thibodeaux and Vinus LeJeune at the 1964 Newport Folk Festival was one reason behind a revived interest in traditional Cajun music in the mid-1960s. In 1972, the Council for the Development of French in Louisiana started a festival that came to be known as Festivals Acadiens
27.
Cajun fiddle
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Cajun fiddle music is a part of the American fiddle music canon. It is derived from the music of southwest Louisiana and southeast Texas, as well as sharing repertoire from the Quebec and it is one of the few extant North American folk music traditions rooted in French chanson. According to Ron Yule, Louisiana fiddling had its roots in Europe. Zydeco music is a geographically, culturally, and musically related style, Cajun music, an emblematic music of Louisiana, is rooted in the ballads of the French-speaking Acadians of Canada. Cajun music is mentioned in tandem with the Creole-based, Cajun-influenced zydeco form. These French Louisiana sounds have influenced American popular music for decades, especially country music. It is a tradition dating past the Acadian conquest of southwest Louisiana after their displacement from Nova Scotia. Blues fiddle has been influential in the development of Cajun fiddling, as with all music in the New Orleans music scene. According to Bill Malone and David Sticklin, authors of Southern Music/American Music, by 1928 Cajun fiddle had already diverged into variegated styles. The fiddle was the instrument in Cajun sound until the twenties when it was somewhat eclipsed by the accordion. In the early 1930s strings once again dominated, mandolins, pianos, and banjos joined fiddles to create a jazzy swing beat strongly influenced by the western swing of Texas. Cajun fiddle includes quadrilles, jigs, hornpipes, reels, one-steps, two-steps, airs, mazurkas, schottisches, dewey Balfa Al Berard Breaux Brothers Hadley Castille Harry Choates Varise Conner Sady Courville Luderin Darbone Michael Doucet Wade Fruge J
28.
Rhythm
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Rhythm generally means a movement marked by the regulated succession of strong and weak elements, or of opposite or different conditions. In the performance arts, rhythm is the timing of events on a scale, of musical sounds and silences that occur over time, of the steps of a dance, or the meter of spoken language. In some performing arts, such as hip hop music, the delivery of the lyrics is one of the most important elements of the style. Rhythm may also refer to visual presentation, as timed movement through space, in recent years, rhythm and meter have become an important area of research among music scholars. Recent work in these areas includes books by Maury Yeston, Fred Lerdahl and Ray Jackendoff, Jonathan Kramer, Christopher Hasty, Godfried Toussaint, William Rothstein, and Joel Lester. In Thinking and Destiny, Harold W. Percival defined rhythm as the character and meaning of thought expressed through the measure or movement in sound or form, or by written signs or words. In his television series How Music Works, Howard Goodall presents theories that human rhythm recalls the regularity with which we walk, other research suggests that it does not relate to the heartbeat directly, but rather the speed of emotional affect, which also influences heartbeat. Yet other researchers suggest that certain features of human music are widespread. The perception and abstraction of rhythmic measure is the foundation of human instinctive musical participation, Joseph Jordania recently suggested that the sense of rhythm was developed in the early stages of hominid evolution by the forces of natural selection. Plenty of animals walk rhythmically and hear the sounds of the heartbeat in the womb, some types of parrots can know rhythm. There is not a report of an animal being trained to tap, peck. For this reason, the fast-transient sounds of percussion instruments lend themselves to the definition of rhythm, Musical cultures that rely upon such instruments may develop multi-layered polyrhythm and simultaneous rhythms in more than one time signature, called polymeter. Such are the cross-rhythms of Sub-Saharan Africa and the interlocking kotekan rhythms of the gamelan, for information on rhythm in Indian music see Tala. For other Asian approaches to rhythm see Rhythm in Persian music, Rhythm in Arabian music and Usul—Rhythm in Turkish music and this consists of a series of identical yet distinct periodic short-duration stimuli perceived as points in time. It is currently most often designated as a crotchet or quarter note in western notation, faster levels are division levels, and slower levels are multiple levels. Rhythms of recurrence arise from the interaction of two levels of motion, the faster providing the pulse and the slower organizing the beats into repetitive groups. Once a metric hierarchy has been established, we, as listeners, a durational pattern that synchronises with a pulse or pulses on the underlying metric level may be called a rhythmic unit. A rhythmic gesture is any pattern that, in contrast to the rhythmic unit
29.
Staccato
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Staccato is a form of musical articulation. In modern notation it signifies a note of shortened duration, separated from the note that may follow by silence and it has been described by theorists and appeared in music since at least 1676. In 20th-century music, a dot placed above or below a note indicates that it should be played staccato, a number of signs came to be used in the late 19th and early 20th centuries to discriminate more subtle nuances of staccato. This does not, however, alter the rhythm of the music, the opposite musical articulation of staccato is legato, signifying long and continuous notes. The scope of the dot, In the first measure. The staccato applies to both notes of the pairs, in the second measure, the pairs of notes are stemmed separately indicating two different parts, so the staccato applies only to the upper note. Playing staccato is the opposite of playing legato, a staccato passage for strings is by definition a bowed rather than a pizzicato technique, though pizzicato itself might be thought of as a kind of staccato effect. For example, Leroy Andersons Jazz Legato/Jazz Pizzicato, there is an intermediate articulation called either mezzo staccato or non-legato. In musical notation, staccatissimo indicates that the notes are to be played extremely separated and distinct, a few composers, such as Mozart, have used staccato dots accompanied by a written instruction staccatissimo when they mean the passage to be played staccatissimo. Glissando Legato Marcato Portato Slur Basic Music Theory Neil V. Hawes, organist and choirmaster of St. Marys Church, Osterley Staccato—video example of staccato playing
30.
Double stops
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In music, a double stop refers to the technique of playing two notes simultaneously on a bowed stringed instrument such as a violin, a viola, a cello, or a double bass. In performing a double stop, two strings are bowed or plucked simultaneously. Although the term itself suggests these strings are to be fingered, a triple stop is the same technique applied to three strings, a quadruple stop applies to four strings. Double, triple, and quadruple stopping are collectively known as multiple stopping, early extensive examples of the double-stop and string chords appear in Carlo Farinas Capriccio Stravagante from 1627, and in certain of the sonatas of Biagio Marinis op.8 of 1629. On instruments with a bridge, it is difficult to bow more than two strings simultaneously. Early treatises make it clear that composers did not expect three notes to be played at once, even though the notes may be written in a way as to suggest this, playing four notes at once is almost impossible. The normal way of playing three or four note chords is to sound the lower notes briefly and allow them to ring while the bow plays the upper notes and this gives the illusion of a true triple or quadruple stop. In forte, however, it is possible to play three notes at once, especially when bowed toward the fingerboard, with this technique more pressure than usual is needed on the bow, so this cannot be practiced in softer passages. This technique is used in music with great force, such as the cadenza-like solo at the beginning of the last movement of Tchaikovskys violin concerto. An invention called the Bach bow with an arched back uses a system of levers to slacken or tighten bow hair immediately while playing so as to facilitate the performance of polyphonic music. Such a bow was conceived early in the 20th century by Arnold Schering and Albert Schweitzer, a similar device called the Vega bow was built in 1954 under the sponsorship of the violinist Emil Telmányi. Neither of these bears any particular relation to historical Baroque bows. In longer three-note or four-note chords, either the top note or the top two notes are sustained after the notes have been played as grace notes. Sometimes the noteheads for the notes are filled in to show they are of short duration while the noteheads for the notes to be held are left open. This notation occurs, for example, at the beginning of the movement of Beethovens fifth symphony. Simultaneous notes in a part for an orchestral string section may played as multiple stops or the individual notes may be distributed among the players within the section. Where the latter is intended, divisi or div. is written above the staff
31.
Major scale
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The major scale or Ionian scale is one of the most commonly used musical scales, especially in Western music. It is one of the diatonic scales, like many musical scales it is made up of seven notes, the eighth duplicates the first at double its frequency so that it is called a higher octave of the same note. In Carnatic music, it is known as Dheerasankarabharanam, and in Hindustani classical music it is known as Bilaval, a major scale is a diatonic scale. The sequence of intervals between the notes of a scale is, whole, whole, half, whole, whole, whole, half where whole stands for a whole tone. A major scale may be seen as two tetrachords separated by a whole tone. Each tetrachord consists of two whole tones followed by a semitone, whole, whole, half, seven sharps or flats make major keys that may be more conveniently spelled with five flats or sharps. The term major scale is used in the names of some other scales whose first, third. The harmonic major scale has a minor sixth and it differs from the harmonic minor scale only by raising the third degree. The melodic major scale is the mode of the jazz minor scale. It is the Ionian scale with a sixth and minor seventh. The combined scale that goes as Ionian ascending and as melodic major descending is also called melodic major, the double harmonic major scale has a minor second and a minor sixth. It is the mode of the Hungarian minor scale. Ionian mode Major and minor Listen to and download harmonised Major scale piano MP3s The major scale for guitar in one position, with derivation
32.
Waltz
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The waltz is a ballroom and folk dance, normally in triple time, performed primarily in closed position. There are several references to a sliding or gliding dance that would evolve into the waltz that date from 16th century Europe, the French philosopher Montaigne wrote of a dance he saw in 1580 in Augsburg, where the dancers held each other so closely that their faces touched. Kunz Haas wrote, Now they are dancing the godless Weller or Spinner, the peasants of Bavaria, Tyrol, and Styria began dancing a dance called Walzer, a dance for couples, around 1750. The Ländler, also known as the Schleifer, a dance in 34 time, was popular in Bohemia, Austria, and Bavaria. While the eighteenth century upper classes continued to dance the minuet, describing life in Vienna, Don Curzio wrote, The people were dancing mad. The ladies of Vienna are particularly celebrated for their grace and movements of waltzing of which they never tire, there is a waltz in the second act finale of the opera Una Cosa Rara written by Martin y Soler in 1786. Solers waltz was marked Andante con moto, or at a pace with motion, but the flow of the dance was sped-up in Vienna leading to the Geschwindwalzer. In the transition from country to town, the hopping of the Ländler, a known as Langaus, became a sliding step. In the 19th century, the word primarily indicated that the dance was a one, one would waltz in the polka to indicate rotating rather than going straight forward without turning. The Viennese custom is to anticipate the second beat of each measure, making it sound as if the third is late. The metronome speed for a full bar varies between 60 and 70, with the waltzes of the first Strauss often played faster than those of his sons. Shocking many when it was first introduced, the waltz became fashionable in Vienna around the 1780s, according to contemporary singer Michael Kelly, it reached England in 1791. During the Napoleonic Wars, infantry soldiers of the Kings German Legion introduced the dance to the people of Bexhill and it became fashionable in Britain during the Regency period, having been made respectable by the endorsement of Dorothea Lieven, wife of the Russian ambassador. Diarist Thomas Raikes later recounted that No event ever produced so great a sensation in English society as the introduction of the waltz in 1813, in the same year, a sardonic tribute to the dance by Lord Byron was anonymously published. Influential dance master and author of manuals, Thomas Wilson published A Description of the Correct Method of Waltzing in 1816. Come, its time to be going home, the waltz, and especially its closed position, became the example for the creation of many other ballroom dances. Subsequently, new types of waltz have developed, including many folk and it incorporated hesitations and was danced to fast music. A hesitation is basically a halt on the foot during the full waltz measure
33.
Canray Fontenot
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Canray Fontenot was an American Creole fiddle player, who has been described as the greatest Creole Louisiana French fiddler of our time. Canray Fontenot was born in LAnse aux Vaches, near Basile, Louisiana, Fontenot, who grew up working on a family farm, inherited his musical skills from his parents, who played accordion, his father Adam, known as Nonc Adam, played with Amédé Ardoin. Canray first played a cigar-box fiddle that had taken off the screen door of his home. His bow was made from the branches of trees and sewing thread. Canray stated, So, we took some cigar boxes, in those days, cigar boxes were made of wood. So, we worked at it and finally made ourselves a fiddle, for our strings, we had no real strings. We took strands off the screen door and we made fiddles out of that stuff, and then we started practicing. He visited a neighbor to see how he tuned his fiddle and he would sound a string, and then I would try mine, but I couldnt go as high as his fiddle, every time I tried to match his pitch, Id break a string. But then when he would break a string, I would take the longest end, then my fiddle sounded pretty good. Its just a matter of having music on your mind, by 1934, Fontenot had begun performing with Amédé Ardoin, who wanted him to play on a recording session with him in New York, however, his parents would not allow him to travel. In 1948 the pair formed the Duralde Ramblers, who became popular in south west Louisiana and made many radio broadcasts through the 1950s. His most well-known original songs are Joe Pitre a Deux Femmes, Les Barres de la prison and Bonsoir Moreau, which have become standards in the Cajun music and Zydeco music repertoires. Fontenot was never a professional musician, he was a farmer for many years. Fontenot and Ardoin made their debut outside of Louisiana in 1966, at the time, Fontenot had not performed in public for several years, but was persuaded to do so by folklorist Ralph Rinzler. He was awarded the NEA National Heritage Fellowship in 1986, in the year as he. In later years he was featured in documentaries on Cajun and Creole culture. He also performed in New Orleans and toured Europe with the band Filé, there is a portrait of Canray in Yasha Aginskys 1983 film Cajun Visits, and in Jean-Pierre Bruneaus 1993 film Louisiana Blues, edited by Yasha Aginsky. Canray Fontenot died in 1995 at his home in Welsh, Louisiana, Cajun Music a Reflection of a People
34.
Dewey Segura
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Dewey Jean Segura was born in Delcambre, Louisiana. He and his brother Edier Segura formed the duo known as the Segura Brothers, the duo created some of the earliest Cajun music in the late 1920s. Born into a Spanish and French family, Dewey was one of twelve children, all of the children played music to some extent. While playing music, he would routinely bootleg moonshine around the region, after the success of Joe Falcon and Cleoma Breauxs record Allons a Lafayette, Columbia began recording Cajun music, beginning their new series of Arcadian French records. Dewey read in a newspaper on his way to Port Arthur, Texas, during a whiskey run, a relative that connections at Columbia helped get Dewey on the end-of-year schedule. On December 16,1928, Dewey, with his accordion and his brother Eddie on vocals and fiddle, the record Bury Me in a Corner of the Yard was Columbias first in their series of Acadian French music. The B-side song My Sweetheart Run Away was mislabeled and would become the song La Valse de Bayou Teche recorded by many Cajun musicians. Later, on December 9,1929, his brother Eddie, along with Didier Hebert on guitar and Dewey on accordion and vocals, due to the heavy use of French among the English-speaking engineers, they asked him not to sing anything dirty. The musicians would be labeled as E. Segura & D. Herbert on the records, Didier Hebert, a blind guitarist from Louisiana, accompanied them on the three songs and recorded a solo song, I Woke Up One Morning in May, during the same session. The duo would record for Alan Lomax, compiled as folk field recordings. Two songs are recorded, a version of Jolie Blonde called La Fille De La Veuve. Didier would record a vocal called Mes Camarades Il Faut Parier during the Lomax session, on June 22,1934, the Library of Congress recorded both Dewey and Segura at the White Oak bar near New Iberia, Louisiana. Dewey would record again for historian Richard K. Spottswood in 1975 and would explain to Spottswood that the listings of Joe Segura were actually Edier or Dewey
35.
Joe Falcon
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Joseph Falcon was a Cajun accordion player in southwest Louisiana, best known for the first recording of a Cajun song, Allons à Lafayette in 1928. He and his wife Cléoma Breaux left for New Orleans to record the first Cajun record and went on to perform across southern Louisiana, Joe was the fifth child of Pierre Illaire Falcon and Marie Arvilia Boudreaux. Pierre, spoke Canarian Spanish and French and he was born near a small German community north of Rayne, Louisiana known as Roberts Cove, located by Bayou Plaquemine Brule. He began playing accordion at the age of seven, as a young man, Joe was friends with accordionist Amédée Breaux of the legendary Breaux family and sometimes accompanied him on triangle. Amédée’s sister, Cléoma, a gifted guitarist and singer, became Joe’s frequent accompanist, however, in the hotel recording studio, Meche backed down, scared he would mess up the recording. Joe stepped up and sang instead, in a 1962 interview with Mike Seeger, Columbia executive, Frank Buckley Walker, recalls recording the duo, So I went up to Lafayette for a weekend. I happened to know something of the story of the Cajuns and was astounded at the interest that there was in their little Saturday night dances, and to me it had a funny sound. So I brought down a little group, I think his name was Joe Falcon. I brought him down to New Orleans, and we recorded just to have something different and we put it on the market, and it had tremendous sales. Recorded on April 27,1928 in New Orleans, Lafayette caused a sensation when it was released by Columbia Records in the summer of 1928, thousands of copies were sold and Falcon became the first Cajun-recording star, playing to packed dance halls in Louisiana and neighboring Texas. Joe and Cleoma recorded more material at sessions in New York City in August 1928 and Atlanta in April 1929. After a hiatus caused by the onset of the Great Depression, Cléoma died suddenly on April 9,1941, but Joe continued to perform as leader of Joe Falcon and His Silver Bell String Band, which included his second wife, Theresa Meaux, on drums. Despite this success, Joe’s career flagged in the late 1930s with the popularity of fiddle-based country-and-western influenced bands. His music came to be considered old-fashioned and he stopped recording after his last session in 1937, though Joe continued to play local dances into the 1960s, he declined to make further recordings, maintaining he had been cheated by record companies. A Cowboy Rider / Marie Buller August 27,1928 in New York, vieux Airs / La Marche De La Noce August 27,1928 in New York, NY. Prenez Courage / Quand Je Suis Partis Pour Le Texas April 18,2929 in Atlanta, cEst Si Triste Sans Lui / Elle MA Oublie April 18,2929 in Atlanta, GA. Poche Town / Ossun April 18,1929 in Atlanta, GA
36.
Breaux Brothers
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Breaux Frères or Breaux Brothers, were Cajun musicians. They were the earliest to record the song Jolie Blonde, under the title of Ma Blonde Est Partie, amédé Breaux was born on September 1,1900 north of Rayne, Louisiana near a community called Robert’s Cove. His father, August Breaux, later moved to north of Egan, amédé started playing the accordion when he was 12 years old and was playing house parties at the age of 14. The whole family started playing music at a young age, when his brothers, Ophey and Clifford, and his sister, Cleoma Breaux Falcon, were old enough they played music together. That was when he recorded Vas y Carrément and Poor Hobo in 1929 for Columbia Records, after he recorded Ma Blonde Est Partie on April 18,1929, he formed the Breaux Brothers band, consisting of Amedée, Ophey and Clifford. According to Cleomas daughter, while Amede Breaux is credited with writing the song, in October 1934, the trio recorded in San Antonio, Texas for Vocalion releasing 16 songs. That same year, Alan Lomax recorded the brothers playing Little Dog Blues, in December 1937, they traveled with Joe Falcon and Cleoma Breaux and recorded in Dallas, Texas for Decca Records, usually working together or even recording solo. Much of this work would be versions of country or swing tunes. During that session, Clifford would go on to record Continuer De Sonner which is a version of the song Keep A-Knockin popularized in 1957 by Little Richard. Amede would eventually form a band in 1949 called The Acadian Aces and he made approximately 20 other recordings from 1930 through 1951. Some of these included, Hathaway Two Step, Crowley Two Step, Chere Mom. He and his band played on an all over Louisiana
37.
Western swing
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Western swing music is a subgenre of American country music that originated in the late 1920s in the West and South among the regions Western string bands. The movement was an outgrowth of jazz, and similarities with gypsy jazz are often noted, the electrically amplified stringed instruments, especially the steel guitar, give the music a distinctive sound. Later incarnations have also included overtones of bebop, Western swing differs in several ways from the music played by the nationally popular horn-driven big swing bands of the same era. In Western bands, even fully orchestrated bands, vocals, additionally, although popular horn bands tended to arrange and score their music, most Western bands improvised freely, either by soloists or collectively. Contemporary groups include Asleep at the Wheel and The Hot Club of Cowtown, when it escapes in all its musical glory, my friend, you have Western swing. Western swing in its beginnings was just dance music, the term swing, meaning big band dance music, wasnt used until after the 1932 hit It Dont Mean a Thing. Most of the big Western dance bandleaders simply referred to themselves as Western bands and their music as Western dance music, Bob Wills and others believed the term Western swing was used for his music while he and his band were still in Tulsa, Oklahoma between 1939 and 1942. The Los Angeles-area Wilmington Press carried ads for an unidentified Western Swing Orchestra at a nightspot in April 1942. That winter, influential LA-area jazz and swing disc jockey Al Jarvis held a radio contest for top popular band leaders, the winner would be named the King of Swing. When Spade Cooley unexpectedly received the most votes, besting Benny Goodman and Harry James, on the other hand, The Billboard, in its January 29,1944 issue, reported Cooley came fourth in the orchestra section, behind Sammy Kaye, Freddie Martin, and Jimmy Dorsey. Around 1942, Cooleys promoter, disc jockey Foreman Phillips, began using Western swing to advertise his client, Music is not the true Western type. Dancers can foxtrot or do a slow jitter to it, a more widely known first use was an October 1944 Billboard item mentioning a forthcoming songbook by Cooley titled Western Swing. This, however was preceded by this item on page 11 of the May 6,1944 Billboard, Spade Cooley, who moved in with his Western swing boys several months ago, has released the Breakfast Club. Cooley moved up from Phillips County barn dances at Venice, Calif. ballroom, after that, the music was known as Western swing. During its early development, scores of groups from San Antonio to Shreveport to Oklahoma City played different songs with the basic sound. Fred Papa Calhoun recalled that around 1930, he played in a band in Decatur and we also liked Red Nichols and Bix Beiderbecke. After ending his partnership with Vernon Dalhart, country music trailblazer Carson Robison formed Carson Robisons Madcaps. Their recording of Nonsense in September 1929 was an uptempo, pioneering example of Western swing, in the early 1930s, Bob Wills and Milton Brown co-founded the string band that became the Light Crust Doughboys, the first professional band in this genre
38.
Texas
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Texas is the second largest state in the United States by both area and population. Other major cities include Austin, the second most populous state capital in the U. S. Texas is nicknamed the Lone Star State to signify its former status as an independent republic, and as a reminder of the states struggle for independence from Mexico. The Lone Star can be found on the Texan state flag, the origin of Texass name is from the word Tejas, which means friends in the Caddo language. Due to its size and geologic features such as the Balcones Fault, although Texas is popularly associated with the U. S. southwestern deserts, less than 10 percent of Texas land area is desert. Most of the centers are located in areas of former prairies, grasslands, forests. Traveling from east to west, one can observe terrain that ranges from coastal swamps and piney woods, to rolling plains and rugged hills, the term six flags over Texas refers to several nations that have ruled over the territory. Spain was the first European country to claim the area of Texas, Mexico controlled the territory until 1836 when Texas won its independence, becoming an independent Republic. In 1845, Texas joined the United States as the 28th state, the states annexation set off a chain of events that caused the Mexican–American War in 1846. A slave state before the American Civil War, Texas declared its secession from the U. S. in early 1861, after the Civil War and the restoration of its representation in the federal government, Texas entered a long period of economic stagnation. One Texan industry that thrived after the Civil War was cattle, due to its long history as a center of the industry, Texas is associated with the image of the cowboy. The states economic fortunes changed in the early 20th century, when oil discoveries initiated a boom in the state. With strong investments in universities, Texas developed a diversified economy, as of 2010 it shares the top of the list of the most Fortune 500 companies with California at 57. With a growing base of industry, the leads in many industries, including agriculture, petrochemicals, energy, computers and electronics, aerospace. Texas has led the nation in export revenue since 2002 and has the second-highest gross state product. The name Texas, based on the Caddo word tejas meaning friends or allies, was applied by the Spanish to the Caddo themselves, during Spanish colonial rule, the area was officially known as the Nuevo Reino de Filipinas, La Provincia de Texas. Texas is the second largest U. S. state, behind Alaska, though 10 percent larger than France and almost twice as large as Germany or Japan, it ranks only 27th worldwide amongst country subdivisions by size. If it were an independent country, Texas would be the 40th largest behind Chile, Texas is in the south central part of the United States of America. Three of its borders are defined by rivers, the Rio Grande forms a natural border with the Mexican states of Chihuahua, Coahuila, Nuevo León, and Tamaulipas to the south
39.
Bob Wills
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James Robert Bob Wills was an American Western swing musician, songwriter, and bandleader. Considered by music authorities as the co-founder of Western swing, he was known as the King of Western Swing. The band played regularly on a Tulsa, Oklahoma radio station and added Leon McAuliffe on steel guitar, pianist Al Stricklin, drummer Smokey Dacus, and a horn section that expanded the bands sound. Wills and the Texas Playboys recorded with several publishers and companies, including Vocalion, Okeh, Columbia, in 1950, he had two Top 10 hits, Ida Red Likes The Boogie and Faded Love, which were his last hits for a decade. Throughout the 1950s, he struggled with health and tenuous finances. Wills had an attack in 1962 and a second one the next year. The Country Music Hall of Fame inducted Wills in 1968 and the Texas State Legislature honored him for his contribution to American music, in 1972, Wills accepted a citation from the American Society of Composers, Authors and Publishers in Nashville. He was recording an album with fan Merle Haggard in 1973 when a stroke left him comatose until his death in 1975, the Rock and Roll Hall of Fame inducted Wills and the Texas Playboys in 1999. He was born on a farm near Kosse, Texas, in Limestone County near Groesbeck, to Emma Lee Foley and John Tompkins Wills. His father was a champion fiddle player and the Wills family was either playing music, or someone was always wanting us to play for them. In addition to picking cotton, the young Jim Bob learned to play the fiddle, both a sister and several brothers played musical instruments, while another sister played piano. The Wills family frequently held country dances in their home, while living in Hall County, Texas, they also played at ranch dances which were popular in both North Texas and eastern New Mexico. African Americans were his playmates, and his father enjoyed watching him jig dance with black children, the family moved to Hall County in the Texas Panhandle in 1913, and in 1919 they bought a farm between the towns of Lakeview and Turkey. At the age of 16, Wills left the family and hopped a freight train. In his 20s he attended school, got married, and moved first to Roy, New Mexico. He alternated barbering and fiddling even when he moved to Fort Worth after leaving Hall County in 1929, there he played in minstrel and medicine shows, and, as with other Texas musicians such as Ocie Stockard, continued to earn money as a barber. He wore blackface makeup to appear in comedy routines, something that was common at the time and he was playing his violin and singing. There were two guitars and a player with him
40.
Piano
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The piano is an acoustic, stringed musical instrument invented around the year 1700, in which the strings are struck by hammers. It is played using a keyboard, which is a row of keys that the performer presses down or strikes with the fingers and thumbs of both hands to cause the hammers to strike the strings. The word piano is a form of pianoforte, the Italian term for the early 1700s versions of the instrument. The first fortepianos in the 1700s had a sound and smaller dynamic range. An acoustic piano usually has a wooden case surrounding the soundboard and metal strings. Pressing one or more keys on the keyboard causes a padded hammer to strike the strings. The hammer rebounds from the strings, and the continue to vibrate at their resonant frequency. These vibrations are transmitted through a bridge to a soundboard that amplifies by more efficiently coupling the acoustic energy to the air, when the key is released, a damper stops the strings vibration, ending the sound. Notes can be sustained, even when the keys are released by the fingers and thumbs and this means that the piano can play 88 different pitches, going from the deepest bass range to the highest treble. The black keys are for the accidentals, which are needed to play in all twelve keys, more rarely, some pianos have additional keys. Most notes have three strings, except for the bass that graduates from one to two, the strings are sounded when keys are pressed or struck, and silenced by dampers when the hands are lifted from the keyboard. There are two types of piano, the grand piano and the upright piano. The grand piano is used for Classical solos, chamber music and art song and it is used in jazz. The upright piano, which is compact, is the most popular type, as they are a better size for use in private homes for domestic music-making. During the nineteenth century, music publishers produced many works in arrangements for piano, so that music lovers could play. The piano is widely employed in classical, jazz, traditional and popular music for solo and ensemble performances, accompaniment, with technological advances, amplified electric pianos, electronic pianos, and digital pianos have also been developed. The electric piano became an instrument in the 1960s and 1970s genres of jazz fusion, funk music. The piano was founded on earlier technological innovations in keyboard instruments, pipe organs have been used since Antiquity, and as such, the development of pipe organs enabled instrument builders to learn about creating keyboard mechanisms for sounding pitches
41.
Leo Soileau
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He is known as the second person to record a Cajun record and the first to record this genre with a fiddle. Born January 19,1904 in Ville Platte, Louisiana Soileau started playing music at 12 years old, after Joe Falcons recording of Allons a Lafayette became a hit, record companies were interested in finding other talent. With Soileau on fiddle and Mayeus on vocal and accordion, their recording of Mama, Where You At. became the most influential, the following day, he would record with Wilfred Fruge. After the depression, he continued to play dances throughout Louisiana, in 1934, he started a group called the Three Aces with Floyd Shreve on guitar or Bill Dewey Landry on guitar and Tony Gonzales on drums. Without the accordion, the sound would be country influenced, Soileau would begin recording for Bluebird Records and a major part of inspiration came from western swing, blues, ragtime, and fiddle music of Texas. The following year, he would sign with Decca Records, travel to Chicago and he would record again for Decca in New Orleans in 1936 and Dallas in 1937. After the Four Aces broke away as a band, Soileau played with a group he called the Rhythm Boys. Soileau recorded Cajun music until the start of World War II until Decca decided to stop recording Cajun artists, Soileau made frequent broadcasts over KVOL in Lafayette, Louisiana, KPLC in Lake Charles, Louisiana and KWKH in Shreveport, Louisiana. He continued working in an oil refinery and as a janitor retiring completely in the late 1960s
42.
J. B. Fuselier
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For the Louisiana sheriff, see Charles Fuselier. Jean Batiste J. B. Fuselier was a Cajun musician most remembered for his tune Ma Chere Bassette and he played for many years with the group J. B. and His Merrymakers. Fuselier began playing the fiddle when he was five, in a 1937 interview, he claimed that when he started violin, he was too small to pick it up to play. He had to lie on the bed and he also started playing the accordion at a very young age. At the age of nine, he played his first dance, in the 1930s, he recorded many records with Victor Records under the banjoist Beethoven Millers Merrymakers. After Miller left the group in early 1938, Fuselier changed the name to J. B. the group was very successful, drawing large crowds at the Step Inn Club in Lawtell and Fais Do Do in Ville Platte. It was around the end of the war that he met Iry LeJeune and he began playing with Iry Lejeune and the Calcasieu Playboys after he moved to Lake Charles. They played together regularly until 1955 when Lejeune died, Fuselier was driving from the Green Wing Club in Eunice, when he tire puntured. While changing the tire, a car hit Fuseliers car, Fuselier suffered many injuries as well. His daughter remembers his lung was collapsed and he had broken bones. He continued playing with his Merrymakers which consisted of Norris Courville on drums, Desbra Fontenot on steel guitar, Fuselier played for almost his entire life, until his death in 1976. Many other musicians have covered his songs and they are now a part of standard Cajun repertoire and his three most famous songs are Ma chère Bassette, Jongle à Moi and Chère Tout-Toute. Written for his daughter, he is the first to record Chère Tout-Toute which would be re-recorded by many local artists and he never learned to use four fingers when playing the violin. He is quoted as saying, All that money I made and he is also credited with being the first person to incorporate the steel guitar into Cajun music by hiring Atlas Frugé to play in his band. Ma Cher Bassett Listen Ponce A Moi Listen Fuselier had one daughter named Myrtle Tout-Toute Berglund, Cajun Music a Reflection of a People. South To Louisiana, The Music of the Cajun Bayous, Cajun breakdown, the emergence of an American-made music
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Leroy Leblanc
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Leroy Happy Fats Leblanc was a Cajun swing musician that recorded with RCA Records in the 1930s and 1940s. He is known for his recordings with Harry Choates and his broadcasts on KVOL, next to the Hackberry Ramblers, the Rayne-Bo Ramblers were the most popular and innovative of the Cajun string bands. Leroy was born on January 30,1915 Rayne, Louisiana to Gilbert Leblanc and he traded rice in order to purchase his first guitar. In 1932, his career started when he played guitar with Joe Falcon, later, in 1935, he would create the band known as the Rayne-Bo Ramblers which started as the backup band for Nathan Abshire and played regularly at the OST Club in Rayne. The band featured people such as Rang Tang Bully Joe Werner, Harry Choates, Oran Doc Guidry, Nathan Abshire, by 1940, he and Harry recorded their first hit, La Veuve de la Coulee. In 1941, the split up and Happy joined Leo Soileaus Rhythm Boys. Later, he would tour with Tex Ritter and appear on the world-famous Louisiana Hayride, by 1953, every morning on KVOL, Happy would play popular Cajun bands on his radio talk show. That same year, he would meet with John Pusateri, form the Bayou Buckaroos, in his later years, Happy Fats signed up with J. D. In 1966, he recorded popular segregationist tunes, including one entitled Dear Mr. President, valse de Hadacol Crowley Two Step Dear Mr. President On November 9,1980, Governor Edwin Edwards declared the day Happy Fats Leblanc Day. He suffered from diabetes and died in 1988
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Harry Choates
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Harry Henry Choates was an American Cajun music fiddler known as Fiddle King of Cajun Swing. Choates place of birth is disputed, though his State of Texas death certificate lists his birthplace as New Iberia and his baptism certificate lists his place of birth as Cow Island, Louisiana, a small community which is south of the town of Kaplan. His baptism lists his parents as Clarence Choate and Idolie Menard and he was born Harry Henry Choate, and he added an s to his last name at some point after his first marriage. He moved to Port Arthur, Texas, in the 1930s, by age 12 he started playing fiddle for spare change in barbershops. He gained early experience playing in the bands of Leo Soileau and Leroy Leblanc. His 1946 song Jole Blon, a top 10 hit for Choates, was recorded by Quinn Recording under the Gold Star Records label. Since Gold Star could not keep up with the demand for Jole Blon, the record was co-released under other labels, such as Modern Music, Starday, D Records and the Deluxe label. Later, it was recorded by country singer Moon Mullican and became a major hit, Choates remained with the Melody Boys from 1946 to 1951, recording for Gold Star Records in 1946-47 and later for Macys Recordings. The Melody Boys disbanded over Choates chronic problems with alcoholism and his frequent missed concert dates, in the middle of 1951, Choates was found to be in contempt of court for failing to pay his support payments for his children. He spent three days in the Travis County Jail, at time he began hitting his head against the bars of his jail cell. The condition persisted for days before Choates died of the effects of his alcoholism on July 17,1951. Choates is known as the Godfather of Cajun music mainly because of his introduction of vocal wailing throughout his music, in 2014, Rolling Stone magazine ranked Harry Choates version of Jole Blon #99 in their list of the 100 greatest country songs
