Rigby_MUSI322

 A few instances of creolization in the music of the Dutch-speaking Caribbean are described in the textbook Tour de Force: A Musical Journey of the Caribbean. The Antillean waltz from Curaçao is just one illustration the literature offers. The European, Spanish, and Viennese waltzes influenced the development of the Antillean waltz, a distinctive fusion of the classic waltz and Caribbean syncopation. This creole transformation of the Antillean waltz is thoroughly described by authors Christine Gangelhoff and Cathleen LeGrand. At dance events for the European, Dutch, Sephardic, and Venezuelan communities, domestic servants on the island frequently provided music. They produced the music by employing the ka'i òrgel and the wiri instrument, which gave the imported waltzes recorded on the ka'i òrgel a distinctive rhythmic syncopation. The Antillean waltz most likely developed as a result of this accompaniment. Below is a photo of a ka'i òrgel used to accompany the music: Image ...

The topic of creolization in French-speaking Caribbean music will be studied. Numerous instances of creolization in French Caribbean music are also highlighted in the textbook Tour de Force: A Musical Journey of the Caribbean.  The (Beguine) biguine music, which has its roots in Martinique, is one instance of a creolized musical genre from the French-speaking Caribbean that is mentioned in the text. Biguine combines African rhythms with the Bélé musical style, French ballroom music, and other styles. Some characteristics of this style are described by authors Christine Gangelhoff and Cathleen LeGrand, including syncopated rhythms, the interplay between clarinets and trombones, or string instruments like the guitar and bass. Below is an image of Biguine singer/player Henri Debs, according to an article found at, https://debs-music-studio.com/en/henri-debs-biography/.  He was self-taught and started off on the saxophone before moving on to the guitar and double bass with m...

 In Chapter one (1) of Tour de Force,   there were several examples of creolization. I will focus on 2 examples. 1). Creolization in Caribbean Music can be found through the blending of different musical aspects to create new and unique cultural sounds. The authors of Tour de Force describe the genre as "the most closely associated with Trinidad and Tobago, evolving from a mix of French Caribbean, European, African, and possibly Venezuelan music " The Musical Genre from Trinidad and Tobago: Calypso Arose through the exploration of musical potential after the suppression of African cultural expression, around the 18th century from African slaves. A mix of French Caribbean, European, and African music Instruments include spoons, bamboo, tins, steel pans, etc. The musical genre most associated with T&T Type of folk music Music can be (but is not limited to) political, witty, satiric, or funny. Another description of this creolized music can be found at,  https://www.mas...

 This blog will focus on the creolization found in Caribbean music. Also known as syncretism, creolization as defined by the book Tour de Force is the blending of musical (and other cultural) traditions. A blending of the European and African melodious components, creolization has heavily influenced the creation of a large spectrum of musical forms in the Caribbean. The process of creolization started from the ingenuity and creativeness of the African slaves and their ability to transform and personalize the European practices that were taught to them, whether that be music, speech patterns, dancing, or other forms which then became the building block in defining each individual Caribbean society. Dancehall, also known as dub or ragga, is an example of creolization in Caribbean music. Considered as the direct predecessor of rap music and a sparse version of reggae music, it was brought about during the late 1970s, dancehall has become one of Jamaica's two most influential forms o...