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. Imported from Europe into the Americas, the accordion with its
distinctive sound became a part of the aural landscape for millions of
people but proved to be divisive: while the accordion formed an integral
part of working-class musical expression, bourgeois commentators often
derided it as vulgar and tasteless. This rich collection considers the
accordion and its myriad forms, from the concertina, button accordion,
and piano accordion familiar in European and North American music to the
exotic-sounding South American bandone\u00f3n and the sanfoninha.
Capturing the instrument's spread and adaptation to many different
cultures in North and South America, contributors 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, 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. Contributors are
Mar\u00eda Susana Azzi, Egberto Berm\u00fadez, Mark DeWitt, Joshua
Horowitz, Sydney Hutchinson, Marion Jacobson, James P. Leary, Megwen
Loveless, Richard March, Cathy Ragland, Helena Simonett, Jared Snyder,
Janet L. Sturman, and Christine F. Zinni.
This file is intended only for preview!
I ask you to delete the file from your hard drive after reading it.
thank for the original uploader
No comments:
Post a Comment