> What is truly amazing is the matched set of > baroque accordians which presumably were the > basis for the Cajun accordion, the originals now at Tulane. > d And let us not overlook the precursors of the baroque accordian, the renaissance harmonica and concertina... T > At 03:03 PM 2/18/2010, you wrote: > >I doubt it. I was living in St. Louis at the time, so it was at least > >15 years ago, and the Web was barely getting started... > > > >-----Original Message----- > >From: [email protected] [mailto:[email protected]] On > >Behalf Of [email protected] Sent: Thursday, February 18, 2010 > >1:30 PM To: [email protected]; [email protected]; 'wikla'; > >Guy Smith Subject: [LUTE] Re: Louisiana and the "Sun King", Louis XIV > > > > > I heard an interesting radio article some years ago on NPR about > > > early jazz in New Orleans. Apparently, most of the band leaders at > > > the time were German immigrants. Many (most?) of the early jazz > > > musicians learned how to play from German bandmasters, which had a > > > definite influence on the style. Guy > > That's Wild! > >I'd love to hear the broadcast. > >Do you think it might be available for streaming on NPR's site? > > Thanks Guy, > >Tom > > > -----Original Message----- > > > From: [email protected] [mailto:[email protected]] > > > On Behalf Of [email protected] Sent: Wednesday, February 17, > > > 2010 5:32 PM To: [email protected]; wikla Subject: [LUTE] Re: > > > Louisiana and the "Sun King", Louis XIV > > > > > > > just came to my mind that the relation between American blues > > > > and French baroque perhaps is not at all a coincidence. Perhaps > > > > the real swing in the form of inegalite, "un-equalness" of > > > > notes, of performing music, really came from the French baroque > > > > music to the "new world"? > > > A very interesting question. Am I reading you correctly? Are > > > you > > > hypothesizing that the "swing" of American blues originates in the > > > French "inegalité" ? > > > I would suspect that it is the other way 'round. I believe the > > > unique > > > 12/8 swing feel of blues > > > most likely comes from African dance rhythms. Their music and > > > dance were the only ways they had of holding on to the culture > > > they lost when they were ripped away from home and brought to > > > North America as slaves. I doubt that many (if any) African > > > slaves heard the music of aristocratic French society - certainly > > > not enough to influence the music of an entire culture passed on > > > via oral tradition. However, I do think it is plausible that > > > French musicians, or dancing masters, or both, could have heard > > > slave music in the Caribbean and incorporated elements into their > > > music or dance upon return to France. African rhythms combined > > > with fiddle tunes from Great Britain became American square dance > > > music. The blues and jazz that grew out of New Orleans was > > > profoundly influenced by immigrants who were former slaves from > > > Haiti and Jamaica, and their descendents. I have attached a PDF > > > article by Michael Ventura which goes into depth on this subject. > > > I think all musicians should learn to dance. It's all about > > > dance > > > rhythms. One can't play a Galliard properly without knowing how > > > to dance one. Bach's suites were all base on dance rhythms. > > > There is great argument about how to interpret these, with one > > > side saying he didn't intend them as dances at all and the other > > > side saying the opposite. For a wonderful treatise on this read > > > Anner Bylsma, "Bach the Fencing Master". > > > http://www.bylsmafencing.com/ > > > Thanks, Arto, for a very interesting idea. I'll look forward to > > > thoughts > > > from the rest of the > > > list. > > > Tom > > > Tom Draughon > > > Heartistry Music > > > http://www.heartistry.com/artists/tom.html > > > 714 9th Avenue West > > > Ashland, WI 54806 > > > 715-682-9362 > > > > > > > As perhaps many know, France happened to have certain influence > > > > there in the eastern Norh America in the baroque times: see > > > > Wikipedia > > > > > > > > http://en.wikipedia.org/wiki/History_of_Louisiana#French_explora > > > > tion _a nd_colonization_.281528.E2.80.931756.29 > > > > > > > > And for ex. the name "Louisina" was given to an area of land by > > > > the French explorer Robert Cavelier de La Salle, who named a > > > > region "Louisiana" to honor France's King Louis XIV in 1682. And > > > > that king happened to be be also the king of those musicians who > > > > were on the top of "inegalitee"... ;-) > > > > > > > > And remember what New Orleans is (was?) to the blues and jazz. > > > > And it is (was?) an Orleans, anyhow. > > > > > > > > Best, > > > > > > > > Arto > > > > > > > > > > > > > > > > To get on or off this list see list information at > > > > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > > > > > > > > > > > > > > > > Tom Draughon > > > Heartistry Music > > > http://www.heartistry.com/artists/tom.html > > > 714 9th Avenue West > > > Ashland, WI 54806 > > > 715-682-9362 > > > > > > -- > > > > > > > > >Tom Draughon > >Heartistry Music > >http://www.heartistry.com/artists/tom.html > >714 9th Avenue West > >Ashland, WI 54806 > >715-682-9362 > >
Tom Draughon Heartistry Music http://www.heartistry.com/artists/tom.html 714 9th Avenue West Ashland, WI 54806 715-682-9362
