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The Accordion in the AmericasKlezmer, Polka, Tango, Zydeco, and More!$
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Helena Simonett

Print publication date: 2012

Print ISBN-13: 9780252037207

Published to Illinois Scholarship Online: April 2017

DOI: 10.5406/illinois/9780252037207.001.0001

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PRINTED FROM ILLINOIS SCHOLARSHIP ONLINE (www.illinois.universitypressscholarship.com). (c) Copyright Illinois University Press, 2019. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in ISO for personal use.date: 23 September 2019

The Accordion in New Scores

The Accordion in New Scores

Paradigms of Authorship and Identity in William Schimmel’s Musical “Realities”

Chapter:
(p.295) 14 The Accordion in New Scores
Source:
The Accordion in the Americas
Author(s):

Marion S. Jacobson

Publisher:
University of Illinois Press
DOI:10.5406/illinois/9780252037207.003.0015

This chapter focuses on the work of contemporary composer and accordionist William Schimmel and his experimental use of the piano accordion. Schimmel's somewhat odd choice of instrument—which is not an accepted “concert instrument,” from the music academy's point of view—unshackles him from some classic compositional constraints, giving him the freedom to explore the piano accordion's unique tonalities and textures. Schimmel's interpretations not only give a new voice to classic works but release meanings hitherto concealed by strict adherence to the musical score. By opening up new possibilities for the potential of the accordion to signify “avant-garde,” Schimmel clearly walks on new shores.

Keywords:   William Schimmel, piano accordion, musical instruments, accordionists

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