In this Book

The Accordion in the Americas
summary
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 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 more exotic-sounding South American bandoneón and the sanfoninha._x000B__x000B_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 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. _x000B__x000B_Contributors are María Susana Azzi, Egberto Bermúdez, 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.

Table of Contents

  1. Cover
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  1. Title Page, Copyright
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  1. Contents
  2. pp. v-vi
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  1. Map
  2. p. viii
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  1. Introduction
  2. pp. 1-18
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  1. Chapter 1 From Old World to New Shores
  2. pp. 19-38
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  1. Chapter 2 Accordion Jokes: A Folklorist’s View
  2. pp. 39-43
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  1. Chapter 3 From Chanky-Chank to Yankee Chanks: The Cajun Accordion as Identity Symbol
  2. pp. 44-65
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  1. Chapter 4 ’Garde ici et ’garde lá-bas: Creole Accordion in Louisiana
  2. pp. 66-86
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  1. Chapter 5 “Tejano and Proud”: Regional Accordion Traditions of South Texas and the Border Region
  2. pp. 87-111
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  1. Chapter 6 Preserving Territory: The Changing Language of the Accordion in Tohono O’odham Waila
  2. pp. 112-135
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  1. Chapter 7 Accordions and Working-Class Culture along Lake Superior’s South Shore
  2. pp. 136-155
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  1. Chapter 8 Play Me a Tarantella, a Polka, or Jazz: Italian Americans and the Currency of Piano-Accordion Music
  2. pp. 156-177
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  1. Chapter 9 The Klezmer Accordion: An Outsider among Outsiders
  2. pp. 178-198
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  1. Chapter 10 Beyond Vallenato: The Accordion Traditions in Colombia
  2. pp. 199-232
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  1. Chapter 11 “A Hellish Instrument” The Story of the Tango Bandoneón
  2. pp. 233-248
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  1. Chapter 12 No ma’ se oye el fuinfuán: The Noisy Accordion in the Dominican Republic Sydney
  2. pp. 249-267
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  1. Chapter 13 Between the Folds of Luiz Gonzaga’s Sanfona: Forró Music in Brazil
  2. pp. 268-294
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  1. Chapter 14 The Accordion in New Scores: Paradigms of Authorship and Identity in William Schimmel’s Musical "Realities"
  2. pp. 295-314
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  1. Glossary
  2. pp. 315-318
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  1. Contributors
  2. pp. 319-322
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  1. Index
  2. pp. 323-330
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  1. Further Reading, Production Notes, Back Cover
  2. p. 331
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