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The American pianist and composer, Louis-Moreau Gottschalk (1829 - 1869), was created in New Orleans, Louisiana, one of the most culturally different areas in America during his time. His father, Edward Gottschalk, was of German-Jewish heritage, and his mother, Aimée de Bruslé, was a Creole of French-Roman Catholic background. The Bruslé family members experienced fled from Haiti to New Orleans due to the increasing slave rebellion. Also, his maternal Grandmother Sally and Bruslé, her African-American nurse, were from Saint-Dominque originally. The cultures of Gottschalk’s family led to his mixed heritage. His family members background probably triggered a pastime in him to visit and tour many areas during his musical profession. He travelled to areas including France, Switzerland, Spain, along with the West Indies. All the certain specific areas he visited influenced his music for some reason. Gottschalk’s unique mixture of exotic cultures was key to perpetual fame during his time. By examining the compositions Bamboula (Op. 2) and Souvenir de Porto Rico (Op. 31), I will demonstrate how Gottschalk’s musical style symbolizes an integration of Creole, New Orleans, West Indian, and Afro-Caribbean backgrounds he was subjected to throughout his life. Gottschalk was a kid prodigy, showing astonishing musical skills at a age. His dad, against his mother’s wants, sent him off to review music even more intensively in Paris. During his amount of time in Paris, Gottschalk studied piano with Charles Hallé, Camille Stamaty, and studied composition with Pierre Maleden later on. Paris was just the start of the countless places where he'd compose a few of his finest works. Bamboula, among Gottschalk’s early solo piano works, is part of a couple of four parts called the L...