The Accordion in the Americas: Klezmer, Polka, Tango, Zydeco, and More!
The Accordion in the Americas: Klezmer, Polka, Tango, Zydeco, and More!
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Abstract
An invention of the Industrial Revolution, the accordion provided the less affluent with an inexpensive, loud, portable, and durable “one-man-orchestra” capable of producing melody, harmony, and bass all at once. This book considers the accordion and its myriad forms, from the concertina, button accordion, and piano accordion familiar in European and North American music to the more exotic-sounding South American bandoneón and the sanfoninha. Capturing the instrument's spread and adaptation to many different cultures in North and South America, the chapters illuminate how the accordion factored into power struggles over aesthetic values between elites and working-class people who often were members of immigrant and/or marginalized ethnic communities. Specific histories and cultural contexts discussed include the accordion in Brazil, Argentine tango, accordion traditions in Colombia and the Dominican Republic, cross-border accordion culture between Mexico and Texas, Cajun and Creole identity, working-class culture near Lake Superior, the virtuoso Italian-American and Klezmer accordions, Native American dance music, and American avant-garde.
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Front Matter
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Introduction
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1
From Old World to New Shores
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2
Accordion Jokes: A Folklorist’s View
Richard March
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3
From Chanky-Chank to Yankee Chanks: The Cajun Accordion as Identity Symbol
Mark F. Dewitt
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4
’Garde ici et ’garde lá-bas: Creole Accordion in Louisiana
Jared Snyder
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5
“Tejano and Proud”: Regional Accordion Traditions of South Texas and the Border Region
Cathy Ragland
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6
Preserving Territory: The Changing Language of the Accordion in Tohono O’odham Waila Music
Janet L. Sturman
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7
Accordions and Working-Class Culture along Lake Superior’s South Shore
James P. Leary
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8
Play Me a Tarantella, a Polka, or Jazz: Italian Americans and the Currency of Piano-Accordion Music
Christine F. Zinni
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9
The Klezmer Accordion: An Outsider among Outsiders
Joshua Horowitz
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10
Beyond Vallenato: The Accordion Traditions in Colombia
Egberto Bermúdez
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11
“A Hellish Instrument”: The Story of the Tango Bandoneón
María Susana Azzi
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12
No ma’ se oye el fuinfuán: The Noisy Accordion in the Dominican Republic
Sydney Hutchinson
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13
Between the Folds of Luiz Gonzaga’s Sanfona: Forró Music in Brazil
Megwen Loveless
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14
The Accordion in New Scores: Paradigms of Authorship and Identity in William Schimmel’s Musical “Realities”
Marion S. Jacobson
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End Matter
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