Louis Moreau Gottschalk was the most prominent figure in Creole New Orleans music of the Nineteenth Century. His contemporary, Basile Barès was perhaps the first man of color ever to have had his music published while still a slave. Their compositions can be construed as two different models of the creolization of music. In his early work, Gottschalk capitalized on the stereotypes of Black Creole music, giving to his works titles such as "Bamboula, a Negro Dance", Barès was also inspired by Creole culture, notably the emblematic figure of the "Belle Créole". However unlike Gottschalk, Barès did not explicitly refer to the African influences on Creole New Orleans culture. It is interesting to notice that each of these two composers borrowed cliched images and stereotypes from the other's culture and how this borrowing enriched and complicated Nineteenth Century Creole music.