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Third world music and American born horse big Robin Hood of Arab origin of a lot of the impact on American culture further hope for the surveys. Tony look at Vox Nauruans appeared to me to be a happy in a relaxed city. Even the poorest negro neighborhoods through which we marched with the funeral parade. There were no large slum like tenements whose good the streets were lined with story one story wooden houses which gave the feeling of space and sunlight. While marching in the second line of the parade I began to understand why its musical traditions have always been such an integral part of its way of life. I think you did in my mind as a garden's but words nigger nigger population unearthed the seeds of its own musical heritage and cultivated seeds from many other sources
that even to their own cultural traditions. The city was literally filled with music from its very beginnings. Brass bands string orchestras quartet street singers and dozens of little social groups with their own orchestras playing for endless parties and picnics. This music by the way was not at all all distinctive. White musicians who read music and creoles of color who also read music relied on standard orchestrations from New York publishers. The rubber bands of musicians who didn't read music played in the dance hall where the ducks were longshoreman and sailors from the ships who made your changes in the New Orleans way of life came about in the last years of the 19th century. Jim Crow laws were enacted by the state legislature. They included the Creoles of color who are people of French and Spanish mixed blood in their general restrictions and a large district called Story Golden was open for legalized prostitution and gambling. Each of these two factors are a major catalyst in the development of local orchestral music styles. Which one became the heartbeat of American jazz.
We close a recording of some of the relatively new brothas we cannot produce for you distinctive music directly from the eighteen hundreds. However we know something of the city's musical tradition from carefully written descriptions. And this is how we know that the recordings we have for you even though written vintage are typical of the newer ones of those years. Our first number is one of the oldest surviving the grooves off. It is mentioned as a dance in 1935 and is mentioned in it again 34 as a song that would sing in the movie goes your old song Gold recorded in New Orleans by Harry Auster. Here is possum of the salmon trade song by Lucius bridges with ones notes on the guitar and Percy Randolph on the washboard.
The music of New Orleans breeds are some of its most distinctive and it come from its vendors and Fusion Boyd's great guitar and the life here of the suburban Street Choir recorded in New Orleans in 1958. If you find his words hard to understand just listen to the vocal control and the rhythm of his crowds. Oh oh. Oh oh. The warning.
Well I. Think you just drinking a guitar player and doing one of the early bird shows. This is also a believe that New Orleans jazz bands are generally called down by the riverside. Here it blends no Piegan playing anything. Study war no more.
Where are. You.
Why. A few weeks ago you heard a play or game song called hambone from pre-Civil War days in the George you see here we have it again recorded on a New Orleans street as a shine boy sings and slaps his hand that this is a standard set of words Campbell.
Me. ME ME ME ME. Now we have more back room music was a real treat for you we present the Omer Simeon trio over Simeon who has been one of the most influential clarinet stylists in his working recorded with figures like King Oliver Jelly Roll Morton Leger Henderson and Earl Hines a native New Orleanian. He was trained by the master of New Orleans clarinet style Renzo where he plays for you some of the quad blues.
Sure. Sure sure. Sure. Sure. Sure.
Series
Opera: Battleground of the arts
Episode
What is opera?
Producing Organization
WRVR (Radio station: New York, N.Y.)
Riverside Church (New York, N.Y.)
Contributing Organization
University of Maryland (College Park, Maryland)
AAPB ID
cpb-aacip-500-k9316q96
If you have more information about this item than what is given here, or if you have concerns about this record, we want to know! Contact us, indicating the AAPB ID (cpb-aacip-500-k9316q96).
Description
Episode Description
This program seeks to provide a definition for opera.
Series Description
A discussion series, hosted by Boris Goldovsky, that examines the welding together of music and drama, two distinct arts, into opera.
Date
1967-02-14
Asset type
Episode
Media type
Sound
Duration
00:14:38
Embed Code
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Credits
Host: Goldovsky, Boris
Producing Organization: WRVR (Radio station: New York, N.Y.)
Producing Organization: Riverside Church (New York, N.Y.)
Speaker: Sheppard, Walter
AAPB Contributor Holdings
University of Maryland
Identifier: cpb-aacip-653815b29c6 (Filename)
Format: 1/4 inch audio tape
Duration: 00:29:30
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Citations
Chicago: “Opera: Battleground of the arts; What is opera?,” 1967-02-14, University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC, accessed October 23, 2021, http://americanarchive.org/catalog/cpb-aacip-500-k9316q96.
MLA: “Opera: Battleground of the arts; What is opera?.” 1967-02-14. University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Web. October 23, 2021. <http://americanarchive.org/catalog/cpb-aacip-500-k9316q96>.
APA: Opera: Battleground of the arts; What is opera?. Boston, MA: University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Retrieved from http://americanarchive.org/catalog/cpb-aacip-500-k9316q96