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The Accordion in the Americas: Klezmer, Polka, Tango, Zydeco, and More!
By Helena Simonett (Editor), María Susana Azzi (Contribution by), Egberto Bermúdez (Contribution by), Mark DeWitt (Contribution by), Joshua Horowitz (Contribution by), Sydney Hutchinson (Contribution by), Marion Jacobson (Contribution by), James P. Leary (Contribution by), Megwen Loveless (Contribution by), Richard March (Contribution by), Cathy Ragland (Contribution by), Helena Simonett (Contribution by), Jared Snyder (Contribution by), Janet L. Sturman (Contribution by), Christine F Zinni (Contribution by)
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By Helena Simonett (Editor), María Susana Azzi (Contribution by), Egberto Bermúdez (Contribution by), Mark DeWitt (Contribution by), Joshua Horowitz (Contribution by), Sydney Hutchinson (Contribution by), Marion Jacobson (Contribution by), James P. Leary (Contribution by), Megwen Loveless (Contribution by), Richard March (Contribution by), Cathy Ragland (Contribution by), Helena Simonett (Contribution by), Jared Snyder (Contribution by), Janet L. Sturman (Contribution by), Christine F Zinni (Contribution by)
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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 deri...
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