Classifier Instance:

Anchor text: Louis Moreau Gottschalk
Target Entity: Louis_Moreau_Gottschalk
Preceding Context: Musicians from Havana and New Orleans would take the twice-daily ferry between both cities to perform and not surprisingly, the habanera quickly took root in the musically fertile Crescent City. John Storm Roberts states that the musical genre habanera, "reached the U.S. twenty years before the first rag was published." The piano piece "Ojos Criollos (Danse Cubaine)" (1860) by New Orleans native
Succeeding Context: , was influenced by the composer's studies in Cuba. The habanera rhythm is clearly heard in the left hand. With Gottschalk's symphonic work "A Night in the Tropics" (1859), we hear the tresillo variant cinquillo extensively. The cinquillo pattern is also heard in the ragtime compositions of Scott Joplin, Tom Turpin, and others. Ned Sublette echoes the widely held view that the habanera rhythm "found its way into ragtime and the cakewalk," while Roberts suggests that "the habanera influence may have been part of what freed black music from ragtime's European bass." Scott Joplin's "Solace" (1909) is generally considered a habanera. In summary— for the more than quarter-century in which the cakewalk, ragtime, and proto-jazz were forming and developing, the habanera was a consistent part of African American popular music.
Paragraph Title: "Spanish tinge"—the Cuban influence in early jazz
Source Page: Jazz

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