Fusion of Cultures in the Music of Louis-Moreau Gottschalk

Born in New Orleans, Louisiana, an American composer and pianist, Louis-Morrow Gottschalk (1829-1869), was one of America's most diverse cultures at the time. His father, Edward Gottschalk, is the heritage of the German Jewish, and his mother, Aiméede Bruslé, is Creole of France - Croatia. The family of Brussels fled from Haiti to New Orleans as a result of the rise of slave rebellion. In addition, his grandmother Bruslé and her African-American nurse Sally originally came from Saint-Dominque.

Rui Morrow Gottschalk is probably the most famous American composer of the 19th century and the music historian Richard Crawford is known for "incorporating folklore, ethnicity, theme, rhythm into the music of the concert hall". The music of Gottschalk reflects the cultural mix with the various music of Latin, Caribbean, African American, Cajun, Creole, with the hometown Louisiana New Orleans. Throughout his life, he was recognized as a talented pianist and famous composer.

"The life of ten American composers who began with Louis Morrow Gottschalk (1829-1869) and examined Philip Glass (1937-) closely in close proximity, the relationship of the times depicts patterns, trends and techniques of composition It expresses the concept of full sequence, 12 tone music, minimalism, etc. clearly, and emphasizes the use of indigenous music by composers, verbal, native American, black people, other folk element Is integrated in his work. "- School Library Magazine

There are many theories about the origins of music. There is a view that irregular cut first appeared in the classic work of American composer Lewis Morrow Gottschalk (1829-1869). Others claim that music emerges from the bird program circuit, so that was originally a form of vocal music. Another point is that ragtime was developed after Cakewalk, mainly dance music. Europe's written tradition of music has a strict definition of the role of composers, performers and audiences. The European score system has strict measurement and rhythm rules. The time signature indicates the number of beats in the specified metric and which beat receives the beat. For example, in a time of 4/4, each bar has 4 beats and a quarter note receives 1 beat. Half notes become two beats, the whole notes become four beats. Each note is part of a metric. African music tradition does not have such a boundary