New Orleans Music as a Circulatory System

Posted: February 1, 2012 in Matt Sakakeeny, New Orleans

Author: Matt Sakakeeny

Source: Black Music Research Journal Vol. 31, No. 2, Fall 2011; Board of Trustees of the University of Illinois

(Published by: Center for Black Music Research – Columbia College Chicago and University of Illinois Press
Stable URL: http://www.jstor.org/stable/10.5406/blacmusiresej.31.2.0291)

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“This essay provides a roughly chronological history of a single musical tradition in New Orleans, the brass band parade, as a case study that supports a more expansive proposition. The first half of this proposition is specific to New Orleans: I note that the city has become largely identified with African American musical practices and repertoires and, further, that the
associations between music, race, and place can be adequately subsumed under the categorical term New Orleans Music. While New Orleans Music includes an amorphous collection of interrelated styles—brass band, jazz, blues, rhythm & blues, soul, and funk, to name the most prevalent—they are bound together through an association with race (African American),
place (New Orleans), and functionality (social dance) to such a degree that even a disaster of immeasurable consequences, which disproportionately affected that race and dislocated them from that place, has not threatened its cohesiveness. The consensus about the overall attributes of New Orleans Music is so pervasive that naming them as such seems redundant.”

CONTINUE READING HERE

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