The evolution of ragtime and New Orleans brass band styles associated with are usually for pervasive racism and segregation. The musical tradition which involves the brass band parade and is generally identified for its African American musical practices. The New Orleans musicals are identified with race and place and categorized as the New Orleans music. Its evolution is associated with the development of different collections in styles including the brass band, jazz, blues, rhythm and blues, soul, and funk music (Raeburn, 2009). The music was bound together by race acknowledged as African American, the place New Orleans and the functionality of the music which is mainly through social dances. The music embraced cohesiveness and remained mostly unaffected by race and dislocation remaining pervasive. The music especially jazz emergence is associated with the interaction of the black culture influenced by ragtime which refers to songs with syncopated rhythm. The New Orleans music was unified in Scott Joplin ragtime and Louis Armstrong jazz.
Both Scott Joplin and Louis Armstrong rise from an African American culture which influences the development of music. They produce music that transforms American popular music and causes a new appreciation to the African American music in America. The main attributes of their music was the ability to utilize liberation tunes with syncopation and rhythmic energy that influenced their music adding to its vitality and freshness which was appealing to the audiences (Raeburn, 2009). In both types of music namely Joplin ragtime and Armstrong jazz, they incorporated and expressed different intensity and drive which was recognized in the American popular music and captured the various scenes of modern urban America.
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However, ragtime as a genre of music composition contrasted the jazz music in its presentation. Ragtime is composed of the piano for an audience not suitable for dancing but nurtures curiosity and devotion to music. On the other hand, Louis Armstrong from 1901–1971 pioneered the rise of hot jazz which refers to a rapid rhythmic style which influenced the evolution of jazz music in popular America (Kmen, 1966). Armstrong in his jazz career influenced various artists and introduced musical elements such as scat which refers to the use of sounds instead of music. Jazz through Armstrong boasts of recording and performances which revolutionized the music industry in the nineteenth century.
Ragtime and jazz music influenced various integral parts of the American popular culture in social-cultural, political and economic aspects. The music has been associated with its role in changing fashion, influencing political elements such as the women liberation movement and its provision of means of rising above the set standards of the society by introducing new trends and approaches (Kmen, 1966). Ragtime music influenced jazz through syncopation affecting its rhythm in the modification. Jazz music also incorporated improvisation elements from blues emerging as a blend of blues and ragtime. The rise of swing and jazz music raised a movement of new styles of music and dance introduced by African Americans surpassing the social oppression existing at the time which was reinforced through segregation and racism.
Conclusion
The New Orleans music is critical to the development of the American popular culture through its contribution to the emergence of ragtime which influenced jazz music and revolution music in the 19th century. The music is socially significant reflecting voices of African Americans that refused to be silenced by social oppression and segregation but rose to create their own culture and brand utilizing their creativity in music. The New Orleans music developed as an expression of resistance to social oppression and as an affirmation of the African American culture which changes the popular America culture through its worldwide acceptance.
References
Kmen, H. A. (1966). Music in New Orleans: the formative years, 1791-1841 . Louisiana State University Press.
Raeburn, B. B. (2009). New Orleans style and the writing of American jazz history . University of Michigan Press.
