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Relevant bibliographies by topics / Accordion music

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Academic literature on the topic 'Accordion music'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2024

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Journal articles on the topic "Accordion music"

1

Ruiz-García, Juan, Irene Canal-Fontcuberta, Paloma Ávila, David Martí, and Eduardo Alegría-Barrero. "Accordion music from the heart." Coronary Artery Disease 28, no. 7 (November 2017): 624. http://dx.doi.org/10.1097/mca.0000000000000506.

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Anjum, F., Senthy Sellaturay, Howard Marsh, Ian Dickinson, and Seshadri Sriprasad. "Accordion—Music to the endourologist." British Journal of Medical and Surgical Urology 4, no. 5 (September 2011): 225. http://dx.doi.org/10.1016/j.bjmsu.2011.06.024.

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Guo, Qi. ""Chinese style" becomes popular in accordion music, creating brilliance by works at home and abroad -- a review of the second "Chinese style" International Accordion composition competition." International Academic Journal of Humanities and Social Sciences 1, no. 1 (May 28, 2022): 19. http://dx.doi.org/10.56028/iajhss.1.1.19.

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On October 1, 2021, the second "Chinese style" International Accordion composition competition hosted by the Publicity Department of Futian District Party committee of Shenzhen and Futian District Public Culture and sports development center of Shenzhen was held in Shenzhen Youth Activity Center, becoming another cultural activity that helps inherit Chinese national style music creation, enrich accordion works and promote the high-quality development of domestic accordion music after the "First Futian Cup International Accordion composition competition (the second competition has been renamed)". In addition, the competition gained the strong support from well-known art colleges at home and abroad, including the Central Conservatory of music, Tianjin Conservatory of music, Shanghai Conservatory of music and so on. The chairman of the jury of this competition is Mr. Cao Xiaoqing, and members of the jury consisted of world-famous composers, accordion players and professors, therefore, this competition is one of few professional accordion composing events in the world.

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Потеров, Румен. "Transcriptions in Bulgarian music for accordion." Музыкальное искусство Евразии. Традиции и современность, no. 3(8) (October 5, 2022): 31–36. http://dx.doi.org/10.26176/maetam.2022.8.3.003.

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Статья посвящена важному пласту болгарского аккордеонного репертуара. Транскрипции - важнейшая часть исполнительского материала, которым пользуются музыканты, поскольку для аккордеона в Болгарии создаётся мало оригинальных сочинений. В статье рассматриваются бытовые танцевальные произведения и сочинения концертного плана, анализируются образные, технологические и исторические особенности транскрипций. Особое внимание уделено рапсодии "Вардар" П. Владигерова в обработке Г. Глебова. The article is devoted to an important layer of the Bulgarian accordion repertoire. Transcriptions are the most important part of the performing material used by musicians, since few original compositions are created for the accordion in Bulgaria. The article examines everyday dance works and concert compositions, analyzes figurative, technological and historical features of transcriptions. Special attention is paid to the rhapsody "Vardar" by P. Vladigerov in the treatment of G. Glebov.

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Pescada, Gonçalo André Dias. "The Accordionist Profile in the Work Asas by Christopher Bochmann." Asian Journal of Education and Social Studies 48, no. 1 (August 3, 2023): 89–103. http://dx.doi.org/10.9734/ajess/2023/v48i11042.

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The Accordion, portable aerophone invented and patented in 1829 by Cyrill Damian in Austria, emerges in the 21st century as one of the most versatile instruments in the history of music [1]. Several factors contribute to this connection: portability, multi-timbral sound, ability to play melody and accompaniment, possibility of performing counterpoint, independence of hands, among other characteristics. In this context, the second half of the 20th century was crucial for an unprecedented development both in organological, interpretative and compositional terms. The Accordion versatility extends today from popular and traditional music to contemporary music, passing through Jazz. In the field of transcribing works, the accordion's features allow you to approach works from the Baroque, Classical, Romantic periods, among others, either solo or in chamber music. Asas, a work for Accordion, Soprano Voice, Saxophone, Viola and Cello composed by Christopher Bochmann is a good example of the integration of the Accordion in the panorama of contemporary music and in the performative relationship with other instruments.

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Johansson, Wictor. "Women Who Play Accordion or Female Accordionists?" Puls - musik- och dansetnologisk tidskrift 7 (May 1, 2022): 72–95. http://dx.doi.org/10.62779/puls.v7i.19285.

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During the first half of the twentieth century, the accordion was a hugely popular musical instrument that held a strong position within Swedish dance and popular music. Through concerts, record releases and radio performances the accordionists became popular artists, and as skilled musicians, composers and educators they influenced what has come to be defined as accordion music. To most people, the expected image of these accordionists is the one of a male musician. But as a matter of fact, there have been many female accordionists active in Sweden as professional musicians who have been disregarded in music history. In this article, I want to shed light on these women by questioning if and how the stipulations for female accordionists differed from those of their male colleagues. By following about twenty female accordionists, active between the years 1930–1980, I will note that although female accordionists embraced the same repertoire and stylistic ideals as men in accordion music, there have been differences in the qualifications required to be a professional musician. On the one hand, women were expected to combine their musicianship with expected female musical roles such as singers and dancers. On the other hand, they were excluded from areas that were considered reserved for men, such as making records, educational work and composing. I will therefore argue that the phrase “female accordionist” does not just describe a woman playing the accordion. More than that, it sums up societal and patriarchal structures as well as musical ideals that separated female accordion players from the expected male norm of an accordionist. The article is based on interviews, sound recordings, photographs and other archival material from the collections of Svenskt visarkiv (The Centre for Swedish Folk Music and Jazz Research). Printed publications as the magazine Accordion Journalen (1949–1963) and the encyclopedia Svenska dragspelare (1946) have also been used.

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Shemet, L. "Genre and style priorities of accordion performance in traditional common culture of USA." Culture of Ukraine, no. 72 (June 23, 2021): 150–55. http://dx.doi.org/10.31516/2410-5325.072.21.

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The relevance of the study is determined by the wide popularity of accordion in various genres and styles of American folk music, significant achievements of American accordionists in preserving and developing performing traditions in accordance with the ethnocultural specifics of a particular region of the country and presentation of creative achievements of famous American folk groups in the world music space, as well as by lack of the studies on this issue in the field of musicology in Ukraine. The aim of the study is to define the genre and style priorities of accordion performance in the traditional common culture of Americans, highlight the regional specifics of styles and genres of American folk music, in the reproduction of which the accordion is directly involved, as well as describe textural, articulatory and picking, metric and rhythmic features of playing the instrument. The methodology. The methodological basis of the study is the interaction of scientific approaches, among which an important place is occupied by historical, cultural, systemic, structural and functional, musicological methods. The results. In the traditional common culture of Americans, the performance on the accordion is presented quite diversely in terms of the instruments, distribution areas, genre, and style palette of music performed. Historical, sociocultural and geopolitical factors, ethnocultural influences, multicultural tendencies determined the regional specificity of the instruments. The Cajun accordion, the diatonic button accordion, and the chromatic piano accordion have gained considerable popularity in the traditional common culture of various regions of the United States. Each of them took leading positions in the reproduction of a certain musical style: Cajun accordion — Cajun and Zydeco, diatonic button accordion — Cojunto, chromatic piano accordion — Zydeco. The button (diatonic or chromatic) and piano accordions were mainly used in the instrumental composition of dance music groups, in particular in the genre of polka, depending on the region with the corresponding ethnic specificity. The accordion performance vividly embodies the genre and style features of American folk music in the context of its historical dynamics and capability of artistic expression, including intonation expressiveness and characteristic techniques of playing, inherent in a certain design model of the instrument. The topicality of the study is to reproduce the genre and style specifics of accordion performance in the traditional common culture of Americans.

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Kysliak, Bohdan, and Tetiana Tokar. "General patterns of existence of the accordion in the 20th century." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 66, no. 66 (April 9, 2023): 141–57. http://dx.doi.org/10.34064/khnum1-66.09.

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Statement of the problem. Today the process of integrating the accordion into various types of musical practice continues to be in almost all countries of the world. The general course of the evolution of accordion performance, despite all attempts to limit it to pop music or house hold music, undoubtedly indicates a gradual but natural “ascension” of the accordion to the heights of academic music. According to this thesis, the purpose of the article is an attempt to offer a generalized description of the socio-cultural situation that led to the formation of the academic field of accordion performance. The results and conclusions. The keyboard accordion appeared en masse in all European countries almost at the same time – in the 20s and early 30s of the 20th century. The instrument quickly attracted attention of performers who switch from piano or various types of the hand harmonicas to the new instrument. A specific point in the development of accordion performance, in our opinion, is the fact that the instrument does not become a house hold immediately, as it happened with its predecessors – hand harmonicas, but only after a period of stage being in the hands of professional performers (variety shows, music in restaurants and dance halls). The recognition of the accordion as a “serious” instrument is evidenced by a number of certain phenomena: the appearance of this instrument in special secondary and higher educational institutions, a significant number of concert accordionists whose program includes mainly classical transcriptions and original works, and also the appearance of a number of records. The development of original repertoire for the accordion was the most rapid in Germany, not only because of its wide spread use in this country, but also because it was here that professional composers first turned to the creation of special literature. After the Second World War, the accordion gradually secured the dual status of a pop and academic instrument, and its pop component seemed to split, as one part of the repertoire passed into the stratum of house hold music, and the other, more high quality, acquired the features of academicism. Overtime, the instrument demonstrated the tendency to leave the concert stage. On the other hand, the undeniable growth of the performers’ professionalism, the further improvement of technical and constructive characteristics, the active development of the repertoire, the constantly increasing level of technique, the appearance of the accordion in modern chamber music, etc., speak of the reverse process – the process of active integration of the accordion into the sphere of professional classical instruments. Thus, in our opinion, the development trends that are clearly evident today in the repertoire of accordionists indicate that the keyboard accordion, even if it is not as large-scale as the button one, is still quite firmly established on the academic scene.

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Strelchenko, K. M. "Modern arrangements and transcriptions of pieces for accordion in terms of sound timbre instruments specificity." Musical art in the educological discourse, no. 2 (2017): 92–96. http://dx.doi.org/10.28925/2518-766x.20172.9296.

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The article is devoted to comparative analysis of the characteristics and differences of sound and timbral features of accordion with other musical instruments in the creative process of arrangement and transcription of original music. This article has examples of some musical pieces for the practical examination of key aspects of this question. There were always many aspects of the problems of concert performance of accordionists. However, the problem of music genres of repertoire, that helps to achieve impressive effect of performance and sense of confidence in broader stylistic possibilities of the instrument, is of special importance today. Therefore, the purpose of article is more extended consideration of the issue of uncomfortable acoustical sounding of accordion in a considerable number of episodes of pieces of music that are not created for this instrument. The concert program of contemporary accordionists, which has the arrangements and transcriptions for accordion of original pieces of music, is complete and perfect. Expanding of the stylistic frontiers of repertoire and increase capabilities of performance of classical, pop and jazz music of different genres and styles will solve many problems associated with the increasing popularity of accordion. Today the need for the use of accordion as original instrument in musicians’ performance practice is urgent. Transcriptions and arrangements are aimed at preparation and adaptation of the original music to perform for another ensemble or other instrument for which the composition was not originally created. The main task is to facilitate the articulation of sound palette of the accordion. It gives the opportunity to create transcription and arrangement in such way that the listener perceives the piece of music as music written for musical instrument that he hears at that time. To perceive and understandand original music, it is advisable to listen to it from the best professional music groups and musicians. Such performance as usual makes a great impression and expands the imagination but in their original genre. When a musician plays their arrangement he recalls what he heard and experienced when he was at the music hall. Naturally the creative personality wishes to recreate from what he was amazed, but he must play the music written for other musical instruments and groups using a different approach to understanding and implementing the image of high performance art.

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Dunkel, Maria, and Marta Ramsten. "Folk Music in Sweden: Harmonica and Accordion." Yearbook for Traditional Music 29 (1997): 189. http://dx.doi.org/10.2307/768322.

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Dissertations / Theses on the topic "Accordion music"

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Peiseniece, Mara. "Accordion in Action : How to develop my artistic skills applying theatrical choreography with accordion to a performance." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2515.

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Řehák, Milan. "Recording and amplifying of the accordion : What is the best way to capture the sound of the acoustic accordion?" Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2965.

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In this thesis I discuss, analyse and intend to answer the question: What is the best way to capture the sound of the acoustic accordion? It was my desire to explore this theme that led me to this research, and I believe that this question is important to many other accordionists as well. From the very beginning, I wanted the thesis to be not only an academic material but also that it can be used as an instruction manual, which could serve accordionists and others who are interested in this subject, to delve deeper into it, understand it and hopefully get answers to their questions about this subject. The thesis contains five main chapters: Amplifying of the accordion at live events, Processing of the accordion sound, Recording of the accordion in a studio - the specifics of recording of the accordion, Specific recording solutions and Examples of recording and amplifying of the accordion in practice of other accordion players, and two recordings: D. Scarlatti - Sonata D minor K 141, V. Trojan - The Collasped Cathedral. My aim is that this thesis will contribute to create a comprehensive insight into the specifics of capturing the accordion sound, contribute to better understanding of the acoustic properties of the instrument and bring practical answers to questions that many accordionists have. I have chosen to mention very basic technical aspects related to how to capture the sound of the acoustic accordion with respect to potential elementary knowledge of some people in this area. But, I also discuss very specific and professional details and focus on how different kinds of microphones can be used to capture the sound of the acoustic accordion. This is a subject that clearly is understudied and probably not has been a matter for proper research before. Most of my comments and analysis come from my personal experience and different experiments but there is also an interview included in the thesis with one very experienced accordionist who also is a professional music producer. I hope that my thesis will help other accordionists, sound engineers, and anyone else to understand the accordion and its specifics regarding both studio recording and live amplifying.

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Řehák, Milan. "Jindřich Feld : Analysis of Concert Piece For Accordion." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2352.

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This thesis intends to illustrate the music language presented in Jindřich Feld’s compositions for accordion. Jindřich Feld (1925-2007) was a very important Czech composer of the second half of the 20th century. As the best example of this music language, I have chosen his “Concert Piece For Accordion” which is certainly one of the most respected accordion compositions ever written. I have always appreciated the music of Jindřich Feld, which is the reason why I decided to write about him and his composition. In this thesis, I focused mainly on an insight into the form and style of “Concert Piece”. Most of my comments and analyses come from my personal experience and from my perspective as an interpreter. This composition, most likely, has not been performed in Sweden before, or it is not well-know at least. I hope that my thesis will help other accordionists and musicians to understand Feld’s music, and contribute to better and more frequent performances of his accordion music.

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Christian, Bryan W. Christian Bryan W. Christian Bryan W. Christian Bryan W. "Wanderings." Diss., [La Jolla, Calif.] : University of California, San Diego, 2010. http://wwwlib.umi.com/cr/fullcit?p1477876.

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Thesis (M. A.)--University of California, San Diego, 2010.
Title from first page of PDF file (viewed July 14, 2010). Available via ProQuest Digital Dissertations. Sound files consist of recordings of North and Yet somehow comes emptiness in single-channel and stereo. configurations.

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Tacke, Daniel Arthur Tacke Daniel Arthur Tacke Daniel Arthur Tacke Daniel Arthur. "Resistance in compositional practice three mediatory works /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p1453233.

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Thesis (M.A.)--University of California, San Diego, 2008.
Accompanying disc is DVD-ROM, and contains sound files for recordings of 2nd and 3rd compositions. Title from first page of PDF file (viewed June 25, 2008). Available via ProQuest Digital Dissertations. Reproduced from holograph.

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Sotty, Jean-Étienne. "Ressemblance, imitation, hybridation : vers une symbiose entre accordéon et électronique." Electronic Thesis or Diss., Sorbonne université, 2022. http://www.theses.fr/2022SORUL152.

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Cette recherche se situe dans le champ disciplinaire de l’interprétation instrumentale : elle concerne très précisément le jeu de l’accordéon. De nombreux compositeurs•trices jouent actuellement sur une forme de ressemblance entre le son de l’accordéon et les sons électroniques. En effet, l’accordéon est un instrument qui peut moduler des sons complexes, à l’instar d’un synthétiseur. Cette ressemblance est encore plus prégnante avec l’accordéon microtonal XAMP. À partir de ce constat, il est possible de prendre modèle sur le son électronique afin de formaliser un style de jeu instrumental imitant l’électronique. Ce modèle est construit sur une étude du principe d’imitation, et sur des analyses d’œuvres pour accordéon référant ou employant l’électronique. L’application de ce style électronique permet de mélanger davantage les sons instrumentaux avec les sons électroniques dans le cas de la musique mixte, voire de donner l’illusion de sons électroniques avec l’instrument. L’instrumentiste acquiert des techniques et un nouveau type de virtuosité qui lui permettent de réaliser une fusion complète entre son instrumental et son électronique. Ce projet de fusion est aussi réalisé par la création d’un nouvel instrument : l’accordéon hybride. Un accordéon microtonal XAMP est équipé d’un système de quatre haut-parleurs : accordéon acoustique et système électronique deviennent alors les matériaux d’un même instrument, ouvert à de futures créations musicales
This research is situated in the disciplinary field of instrumental interpretation: it concerns very precisely the playing of the accordion. Many composers are currently playing on a form of resemblance between the sound of the accordion and electronic sounds. Indeed, the accordion is an instrument that can modulate complex sounds, almost like a synthesizer. This resemblance is even more significant with the XAMP microtonal accordion. From this observation, it is possible to take a model from electronic sound in order to formalize a style of instrumental playing that imitates electronics. This model is founded on a study of the principle of imitation, and on analyzes of works for accordion referring or employing electronics. Applying this electronic style makes it possible to combine the instrumental sounds even more with the electronic sounds in the case of mixed music, even to give the illusion of electronic sounds with the instrument. The instrumentalist acquires techniques and a new type of virtuosity which allows him to achieve a com-plete fusion between instrumental and electronic sounds. This fusion project is also realized by the creation of a new instrument: the hybrid accordion. A XAMP microtonal accordi-on is equipped with a system of four loudspeakers: acoustic accordion and electronic system then become the materials of a single instrument, open to future musical creations

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Reis, Jonas Tarcísio. "A aprendizagem do acompanhamento harmônico no acordeom : o percurso de três crianças." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2012. http://hdl.handle.net/10183/49355.

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A presente pesquisa teve como objetivo geral analisar e compreender como as crianças aprendem a executar no acordeom o acompanhamento harmônico das músicas estudadas. O desenho metodológico adotado apoiou-se em princípios do Método Clínico piagetiano. A coleta de dados foi realizada com três crianças com idade entre 7,5 e 8,5 anos, no contexto de aulas individuais de acordeom realizadas em um espaço formal de educação musical, de abril a outubro de 2011, na cidade de Porto Alegre – RS. O registro dos dados foi feito em diários de campo e filmagens integrais das aulas de acordeom, nas quais ocorreram entrevistas e observações clínicas decorrentes da adaptação do método, a fim de considerar as singularidades do contexto e dinâmica das aulas. A partir dos dados coletados, fez-se a composição de protocolos para cada sujeito pesquisado, descrevendo os momentos onde a problemática de pesquisa se explicitava. A base teórica da investigação advém da Epistemologia Genética de Jean Piaget. Ela possibilitou a compreensão do percurso da aprendizagem dos sujeitos durante as aulas. Os resultados evidenciaram que, ao longo das aulas de acordeom, foi acontecendo a tomada de consciência das ações, principalmente sobre como os sujeitos faziam para executar as mudanças na execução do acompanhamento. A tomada de consciência do porquê da necessidade dessas mudanças não se deu com base em explicações que considerassem coerentemente todos os elementos harmônicos envolvidos nas músicas estudadas. Constataram-se, também, níveis de tomada de consciência quanto à distinção entre consonâncias e dissonâncias e, nessa conquista, o papel da aprendizagem foi expressivo. A principal contribuição desta pesquisa está em explicitar a trajetória dos sujeitos, mostrando de que modo eles percebem, compreendem e explicam a dimensão harmônica implicada na aprendizagem do acordeom. A pesquisa poderá contribuir para a área da Música e Educação articulando aportes da Epistemologia Genética e da Educação Musical na compreensão do desenvolvimento musical da criança.
This research aimed to understand and analyze general as children learn to perform the rhythmic-harmonic accompaniment on the accordion of the music studied. The design methodology adopted was based on principles of Piaget's Clinical Method. Data collection was performed with three children aged between 7.5 and 8.5 years old in the context of individual classes of an accordion held in a formal space of music education, from April to October 2011, in Porto Alegre - RS. The data recording was done in the field diaries and filming the whole accordion lessons, which occurred in the interviews and clinical observations arising from adaptation of the method in order to consider the singularities of the context and dynamics of classes. From the data collected the composition of protocol was done for each subject researched describing the moment where the problematic of research is made explicit. The theoretical base of research comes from Jean Piajet’s genetic epistemology, and enabled the understanding the journey of learning of the subjects during the lessons. The results showed that over the lessons of accordion awareness of actions were happening, especially as the subjects did to perform changes in the implementation of followup. The awareness about why the need for such changes was not given on the basis of explanations that consistently consider all harmonic date elements involved in music examined. It was found, too, levels of awareness about the distinction between consonance and dissonance in this achievement and the role of learning was significant. The main contribution of this research is to explain the trajectory of the subjects, showing how they perceive, understand and explain the harmonic scale involved in learning the accordion. The research contributes to the area of Music Education and articulating contributions of Genetic Epistemology and Music Education in understanding the child's musical development.

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Lhermet, Vincent. "Le répertoire contemporain de l’accordéon en Europe depuis 1990 : l’affirmation d’une nouvelle identité sonore." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040025.

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Instrument privilégié des compositeurs d’aujourd’hui, l’accordéon est désormais doté d’un vaste répertoire de musique savante : que ce soit en solo, en musique de chambre, dans l’ensemble ou l’orchestre, la profusion des œuvres est le témoignage d’une intégration de plus en plus grande de cet instrument à la création musicale et l’orchestration contemporaine. Cette recherche explore le développement de la création musicale contemporaine pour l’accordéon en Europe depuis 1990 : la constitution d’un corpus de plus de 9100 œuvres – Ricordo al futuro – est le point de départ d’une étude sociologique sur les raisons qui ont motivé ce développement, un regard sur la définition d’une nouvelle identité sonore de l’instrument et une analyse des différentes conceptions esthétiques du répertoire des accordéonistes en Europe. Par la création d’outils à destination des interprètes et des compositeurs, cette recherche se donne pour objectif d’encourager la diffusion d’œuvres récentes auprès de tous les publics
Cherished by many composers today, the contemporary accordion posseses a vast body of art music. Whether it be solo, chamber, ensemble or orchestral repertoire, the sheer abundance of works with accordion rightfully reflects a growing integration of the instrument within musical creation and contemporary orchestration. This project explores the development of European contemporary music composed for the accordion since 1990, seen through the making of Ricordo al futuro, a vast corpus consisting of more than 9100 works. This database has been used as a starting point for an investigation into the coining of a new sonic identity, a sociological study on the reasons which have triggered this development and a meticulous analysis of the diverging aesthetic conceptions of accordion repertoire in Europe. By creating tools destined for both performers and composers, this research project aims to help circulate this new and extremely rich repertoire to as many audiences as possible

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Rostovtsev, Ilya Y. "Source-bonding as a Variable in Electroacoustic Composition: Faktura and Acoustics in Understatements." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc33198/.

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Understatements for two-channel fixed media is a four-movement study of the sonic potential of acoustic instruments within the practice of electroacoustic studio composition. The musical identity of the entire composition is achieved through consistent approaches to disparate instrumental materials and a focused investigation of the relationships between the various acoustic timbres and their electroacoustic treatments. The analytical section of this paper builds on contemporary research in electroacoustic arts. The analysis of the work is preceded by a summary of theoretical and aesthetic approaches within electroacoustic composition and the introduction of primary criteria of sonic faktura (material essence) used in the compositional process. The analyses address the idiosyncratic use of the concept of faktura to contextualize and guide the unfolding of the work. The reconciliation of the illusory electronic textures and the acoustic sources that parented them may be considered the ultimate goal of Understatements.

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Pereira, Julio Cesar Pires. "TRAJETÓRIAS MUSICAIS DE ACORDEONISTAS: UM ESTUDO NA LICENCIATURA EM MÚSICA (UERGS)." Universidade Federal de Santa Maria, 2016. http://repositorio.ufsm.br/handle/1/7277.

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This master thesis was developed within the Education and Arts Research Line (LR4) from the Postgraduate Program on Education at Federal University of Santa Maria (UFSM) and is part of the research group FAPEM Formation, Action and Research in Musical Education of UFSM. The research proposes as its main theme the study of musical trajectories of accordionists of the degree in Music (UERGS). The general objective is to investigate the musical formation trajectories from these accordionists. The specific objectives are organized around to know their musical experiences and understand how they impacted their choices for training in the course of degree in music and understand possible relationships between being accordionist and the choice of honors degree. The literature reviews that guided the research studies the teacher training and academic-professional training (GARCIA, 1999; FERRY, 1991, 2001; NÓVOA, 1992, 1995; MIZUKAMY, 2002; DINIZ PEREIRA, 2008; VAILLANT; MARCELO, 2012). In order to refer to the training of music teachers, the research was based on studies of Del Ben (2000), Bellochio and Garbosa (2010), Louro (2004), Mateiro and Souza (2009) and in Machado (2009), Puglia (2010), Weiss and Louro (2010) to discuss the accordion education. Methodologically, the research was developed from a study of narratives grounded in oral history (MEIHY, 2005; FREITAS, 2006; ALBERTI, 2003), having as a production procedure the narrative interview (JOVCHELOVITCH and BAUER, 2008; MARCONI and LAKATOS, 2013), and respectively, as an analytical tool the Discursive Textual Analysis (MORAES e GALIAZZI, 2006). Considering that the formative paths of research subjects are under construction, the understanding of the presented narratives and the produced knowledge expanded methods and ways of understanding the potential of the accordion in the training of music teachers process, highlighting in this context the Music Degree course of UERGS.
A dissertação foi desenvolvida no Programa de Pós-Graduação em Educação (UFSM), Linha de Pesquisa Educação e Artes LP4 e vincula-se ao grupo de estudo e pesquisa FAPEM - Formação, Ação e Pesquisa em Educação Musical. A pesquisa propõe como tema principal o estudo de trajetórias musicais de acordeonistas da licenciatura em Música (UERGS). O objetivo geral constitui-se em investigar as trajetórias de formação musical destes acordeonistas. Os objetivos específicos estão organizados em torno de conhecer suas vivências musicais e compreender como elas impactaram suas escolhas pela formação no curso de licenciatura em Música e entender possíveis relações entre ser acordeonista e a escolha pela licenciatura. As revisões de literatura que orientaram a pesquisa tematizam a formação de professores e a formação acadêmico-profissional (GARCIA, 1999; FERRY, 1991, 2001; NÓVOA, 1992, 1995; MIZUKAMY, 2002, DINIZ PEREIRA, 2008; VAILLANT; MARCELO, 2012). Para referir à formação de professores de música, a pesquisa apoiou-se nos estudos de Del Ben (2000), Bellochio e Garbosa (2010), Louro (2004), Mateiro e Souza (2009) e em Machado (2009), Puglia (2010), Weiss e Louro (2010) para discutir sobre o ensino de acordeom. Metodologicamente, a pesquisa foi desenvolvida a partir de um estudo com narrativas embasado na história oral (MEIHY, 2005; FREITAS, 2006; ALBERTI, 2003), tendo como procedimento de produção de dados a entrevista narrativa (JOVCHELOVITCH; BAUER, 2008; MARCONI; LAKATOS, 2013), e como instrumento de análise a Análise Textual Discursiva (MORAES; GALIAZZI, 2006). Considerando que as trajetórias formativas dos sujeitos da pesquisa encontram-se em construção, a compreensão das narrativas trazidas e dos conhecimentos produzidos ampliaram os modos e formas de entender o potencial do acordeom no processo formativo de professores de música destacando-se, neste contexto, o Curso de Música - Licenciatura da UERGS.

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Books on the topic "Accordion music"

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Gervasoni, Pierre. L'accordéon, instrument du XXème siècle. Paris: Editions Mazo, 1986.

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musikkinformasjon, Norsk, ed. Accordion: Contemporary Norwegian accordion music. Oslo, Norway: Norwegian Music Information Centre, 1996.

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Lavaud, Patrick. Petite histoire de l'accordéon diatonique dans les Landes de Gascogne: Accompagné d'un CD de témoignages en gascon, musiques et chants. [Bordeaux]: Éd. Confluences, 2014.

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Hector, Galán, and Public Broadcasting Service (U.S.), eds. Accordion dreams. [Alexandria Va.?]: PBS, 2001.

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Eskola, Jari, and Veli Kujala. Finnish works for accordion. Helsinki: Finnish Music Information Centre Fimic, 2011.

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Fischer, Romald. Studien zur Didaktik des Akkordeonspiels: Ein Beitrag zum Instrumentalunterricht. Kamen, Deutschland: Schmülling, 1994.

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Maurer, Walter. Akkordeon-Bibliographie: Schulen, Etüden, Literatur zum Solo-, Duo-, Orchesterspiel, Kammermusik, und Konzerte. Trossingen: Hohner, 1990.

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Maurer, Walter. Akkordeon-Bibliographie: Schulen, Etüden, Literatur zum Solo-, Duo-, Orchesterspiel, Kammermusik und Konzerte. Trossingen: Hohner, 1990.

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Rosińska, Elżbieta. Polska literatura akordeonowa, 1955-1996. Warszawa: Akademia Muzyczna im. Fryderyka Chopina, Katedra Akordeonistyki, 1996.

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Englund, Björn. Carl Jularbo. Stockholm: Arkivet för ljud och bild, 1992.

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Book chapters on the topic "Accordion music"

1

Hutchinson, Sydney. "Accordion." In Focus: Music of the Caribbean, 169–95. Other titles: Music of the Caribbean Description: New York : Routledge, 2019. | Series: Focus on world music: Routledge, 2019. http://dx.doi.org/10.4324/9781315106052-8.

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Abdounur, Oscar João. "Music according to Descartes." In Studies in History of Mathematics Dedicated to A.P. Youschkevitch, 173–85. Turnhout: Brepols Publishers, 2002. http://dx.doi.org/10.1484/m.dda-eb.4.01013.

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Al-Maliki, Murtadha. "Music Recommender According to the User Current Mood." In Proceedings of the Future Technologies Conference (FTC) 2018, 828–34. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-02686-8_61.

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Zapke, Susana. "Dating neumes according to their morphology: the corpus of Toledo." In The Calligraphy of Medieval Music, 91–100. Turnhout: Brepols Publishers, 2011. http://dx.doi.org/10.1484/m.muma-eb.1.100924.

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Williams, Duncan. "Repurposing Music According to Individual Preferences for Personalized Soundtracks." In Emotion in Video Game Soundtracking, 105–14. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-72272-6_9.

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Mihajlović, Danka Lajić. "Every village had bagpipes … and then the accordions arrived. The Influence of Multipart Instruments on Textural Transformations of Serbian Traditional Instrumental Music." In Playing Multipart Music, 29–56. Wien: Böhlau Verlag, 2021. http://dx.doi.org/10.7767/9783205214106.29.

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Cantore, Attilio. "An Extreme Vocal Program to be Enjoyed with the Eyes." In Musik und Klangkultur, 139–52. Bielefeld, Germany: transcript Verlag, 2023. http://dx.doi.org/10.14361/9783839458914-009.

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In the following pages, I aim to explain the key organizational phases of the 30. Festival Internazionale di Musica Contemporanea ('30th International Festival of Contemporary Music') held in Venice in 1967. The major objective of my report is to highlight the most relevant concert, which was titled »triomphe conjugal« ('marital triumph'). I shall offer an account of Berberian's recital (11 September), retracing the birth and the reception of this one-woman show through official documents, newspaper articles and private correspondence. It was a very revolutionary recital, especially according to the Italian audience.

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Grant, Peter. "The Gospel According to St Wilfred." In National Myth and the First World War in Modern Popular Music, 203–25. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1007/978-1-137-60139-1_9.

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Wald-Fuhrmann, Melanie. "13. Music in Christian Services as a Means to Induce Religious Feelings." In Music and Spirituality, 273–84. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0403.13.

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This chapter explores the relationship between musical practices and spiritual experiences in the context of Christian worship. It combines historical, theoretical, and liturgical perspectives with findings from empirical studies of singing in current Roman Catholic worship. After introducing a taxonomy of psychological effects of music in the liturgy according to the emic perspective of the Church, existing empirical studies are reviewed and results of a quantitative study on singing experiences in Roman Catholic mass are presented. The chapter concludes with an outline of a research program dedicated to empirically study the spiritual effects of musical practices in Christian worship.

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Chelouche, Noga Rachel. "13. Futuring Classical Music through Contemporary Visual Art." In Classical Music Futures, 253–76. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0353.13.

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This chapter focuses on the alternative performance of classical compositions created in the works of the renowned contemporary artist Anri Sala (b. 1974). A visual artist, Sala uses music as a central element in his films, installations, and performances. He manipulates the music according to different artistic ideas, thus creating unconventional performances. Through his works, Sala enables different perspectives and new contexts which lead classical music through unpredictable paths. The chapter focuses on three seminal works created by Sala in the last decade: The Present Moment (2014), The Last Resort (2017), and If and Only If (2018). In each of these works, a classical Western composition (a movement or a whole piece by Schoenberg, Mozart or Stravinsky) is the point of departure. The analysis compares these works to conventional performances at the concert hall, and relates to elements such as space and architecture, extra musical contexts, the fidelity to the score, and the use of visual means and technology. The argument is that these artworks, in which well-known music from the canon is reinterpreted, may be experienced as unique and innovative musical performances detached from concert hall conventions.

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Conference papers on the topic "Accordion music"

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Mirzac, Sergiu. "Hourglass for accordion, cello and piano by Vlad Burlea: compositional aspects and the treatment of the accordion." In International scientific conference "Valorization and preservation by digitization of the collections of academic and traditional music from the Republic of Moldova". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/ca.03.

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Vlad Burlea is one of the most famous composers in the Republic of Moldova of the present day, who originally approaches various and interesting artistic themes. The Hourglass is a premiere in the national composition, being analyzed in this article for the first time. In this creation are gathered several innovative aspects, such as: the instrumental composition that includes the accordion alongside the cello and piano, the extensive application of several contemporary compositional, artistic and interpretation techniques, in the accordion part. Following an interview with the composer, the author of the article reveals aspects related to the compositional concept and the form of the creation, exposes data from the history of its appearance and carries out an interpretative analysis of the accordion part, from the point of view of implementing innovative performing techniques.

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Lu, Huiting. "Intelligent recognition and computer-aided guidance system for accordion music based on diversified data perception." In 2022 Second International Conference on Artificial Intelligence and Smart Energy (ICAIS). IEEE, 2022. http://dx.doi.org/10.1109/icais53314.2022.9742734.

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Dermenji, Igor. "Aspects of creation portrait of a teacher Ion Radu." In International scientific conference "Valorization and preservation by digitization of the collections of academic and traditional music from the Republic of Moldova". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/ca.10.

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The article illustrates some biographical moments from the life and activity of Ion Radu, an accordionist and teacher at the Department of Folk Instruments at the College of Music and Pedagogy from Balți. The author presents his contribution to the training and development of the interpretive mastery of the students in the accordion class at the college, and also the rise of the professional activity and his major contribution to the enrichment of the accordion repertoire through numerous transcriptions for this instrument. At the same time, Ion Radu also promotes the folklore traditions, collecting about 150 folk songs from the Danube Bugeac, most of them being presented in the collection of folkloric works „Chiti, Miti”, thus demonstrating the continuity and viability of the local musical folklore.

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Coroiu, Petruta Maria. "Aurel Stroe — outstanding personality of modern Romanian music." In Valorificarea și conservarea prin digitizare a colecțiilor de muzică academică și tradițională din Republica Moldova. Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/digimuz2023.08.

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Being one of the most important Romanian composers, thinkers and teachers of the second half of the 20th century, illustrious representative of modern European and Romanian thought with spiritual amplitude, Aurel Stroe has reached — although passed to the eternal ones in 2008 — the anniversary moment when he would have completed 90 years since his birth (May 5, 2022). Member of the academic staff at the Bucharest National University of Music until he left for Germany, Aurel Stroe taught orchestration and composition, but also he held courses in the USA (1985–1986), France (1972), Germany (1986–1994) and in Romania (the famous training courses from Bușteni, from 1992). Awarded the Prize of the Romanian Academy (1974) and the Herder Prize (Vienna, 2002), Aurel Stroe is distinguished by an impressive creation, in all the fields and genres: from opera (The Closed Citadel Trilogy, 1973–1988) to a libretto after Aeschylus: Agamemnon/Orestia I — 1973, Choephorele/Orestia II — 1983, Eumenides/Orestia III — 1988), to symphonic dance and vocal music (the poem for choir and orchestra Monumentum I (1961) — to the lyrics of Nichita Stănescu), from symphonic music (Arcade, Laude I and II, Canto I and II, Ciaccona con alcune licenze, Lyrical Preludes, Mandala with a polyphony by Antonio Lotti) to concert music (Concerto for clarinet and orchestra, Concerto for violin and ensemble of soloists "Capriccios and Ragas", Concerto for saxophone and orchestra "Prairie, Priere", Concerto for accordion and orchestra), from chamber music (piano sonatas) to choral music.

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Lu, Huiting. "Design of .Net Online System for Accordion Music Guiding in Colleges in the Era of Multimedia Integration." In 2021 Second International Conference on Electronics and Sustainable Communication Systems (ICESC). IEEE, 2021. http://dx.doi.org/10.1109/icesc51422.2021.9532817.

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Xing, Rong. "Aesthetic Reflection of Neutral Tone of National Mode in Accordion Music Composition Taking Dai People’s Water-splashing Festival as an Example." In Proceedings of the 2nd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-18.2018.149.

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Su, Weilin, and Jie Ling. "Real-time visualization design of electronic music based on immersion theory." In AHFE 2023 Hawaii Edition. AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1004227.

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In the context of the current multi-cultural integration, people are eager to obtain multi-sensory experience in music aesthetics. According to the definition and classification of electronic music, this paper analyzes its different characteristics from different angles, and discusses the immersive design of music visualization performance and performance space based on the author's works as an example; puts forward the problems and corresponding solutions in existing electronic music performances ;Aiming at the characteristics of electronic music that are different from traditional music performance, the corresponding mapping rules, technical means, and expression methods are proposed to realize the visualization of music.

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Hishida, Hirotoshi, Shigehiro Hashimoto, Kaito Saeki, Hikaru Kono, and Keiko Hishida. "Basic Research on Music Prescriptions - Second Experiment With Classical Music." In ASME 2023 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2023. http://dx.doi.org/10.1115/imece2023-113358.

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Abstract The authors assume that the stress state can be expressed by a value, SMB, and are trying to develop a method to change the value in an appropriate direction by music. This paper compares the results of the music therapy experiment conducted in 2022 with those in 2020. Subjects are recruited and classified into four groups according to whether they know the pieces played and whether they like the music. Some subjects wear the pulse oximeter throughout the concert. Other methods are employed to measure the stress states of all subjects at the beginning, the intermission, and the end of the concert. Based on the experiment, the possibility of prescribing classical music to patients is recognized. The same music has different effects on the subjects, depending on the type of music and the subject’s characteristics such as gender and whether he/she likes the music. The effects also differ depending on the piano player. In other words, prescribing music would not be simply selecting songs according to the symptoms. In the future, the music database will be grown up and the experimental methods using public concerts will be improved. Some of the stress measurement methods employed in this experiment may be combined to determine SMD.

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Perlovsky, Leonid I. "Creativity and thinking according to cognition-language-music model." In 2011 International Joint Conference on Neural Networks (IJCNN 2011 - San Jose). IEEE, 2011. http://dx.doi.org/10.1109/ijcnn.2011.6033253.

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Barbosa, Jenaro Augusto, and Edimilson Batista dos Santos. "CREATES - Convolutional Neural Network applied to Identification of Musical Elements in OMR." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19452.

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Optical music recognition (OMR) is an important tool to recognize a scanned page of music sheet automatically, which has been applied to preserving music scores. In this paper, we present a comparative study among Convolutional Neural Network (CNN) and state-of-the-art classiers to classify musical symbols. The initial results show that the CNN is promising in this task according to provided information.

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Reports on the topic "Accordion music"

1

De Jesús, Dyanis, Alejandra Luzardo, and Michelle Pérez. Orange Economy: Innovations you may not know were from Latin America and the Caribbean. Inter-American Development Bank, June 2017. http://dx.doi.org/10.18235/0006354.

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Who would have said that in the hands of creatives, designers, artists and entrepreneurs would be part of the response to the development challenges of Latin America and the Caribbean? This report is part of the Inter-American Development Bank's (IDB) Demand Solutions: Ideas for Improving Lives, which aims to give visibility to the region's creatives and to position creativity as an integral element of economic and social development. In 2015 the cultural and creative industries (CCI), which are part of what the IDB calls the Orange Economy, generated 1.9 million jobs in Latin America and the Caribbean, and revenues of $124 billion. It is estimated that by 2020 creativity will be the third most demanded skill by companies when selecting their employees. It should be noted that most startups in the region, although little known, have a high social and economic impact in traditional sectors such as health, education and transportation. This report discusses how creativity continues to be the main protagonist to face challenges upon the changes in the way of working and producing goods and services, as well as the indispensable convergence between the analogue and digital. This report highlights 50 of the 300 innovative projects with the greatest social impact in the region, grouped according to 8 sectors of the CCI’s: Architecture, Handcrafts, Design, Media, Fashion, Music, Creative Services and Software / Digital Platforms, in 12 Countries: Argentina, Bolivia, Brazil, Chile, Colombia, Costa Rica, El Salvador, Guatemala, Jamaica, Mexico, Peru and the Dominican Republic. At the same time it also describes the most important trends in these 8 sectors.

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Yatsymirska, Mariya. SOCIAL EXPRESSION IN MULTIMEDIA TEXTS. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11072.

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The article investigates functional techniques of extralinguistic expression in multimedia texts; the effectiveness of figurative expressions as a reaction to modern events in Ukraine and their influence on the formation of public opinion is shown. Publications of journalists, broadcasts of media resonators, experts, public figures, politicians, readers are analyzed. The language of the media plays a key role in shaping the worldview of the young political elite in the first place. The essence of each statement is a focused thought that reacts to events in the world or in one’s own country. The most popular platform for mass information and social interaction is, first of all, network journalism, which is characterized by mobility and unlimited time and space. Authors have complete freedom to express their views in direct language, including their own word formation. Phonetic, lexical, phraseological and stylistic means of speech create expression of the text. A figurative word, a good aphorism or proverb, a paraphrased expression, etc. enhance the effectiveness of a multimedia text. This is especially important for headlines that simultaneously inform and influence the views of millions of readers. Given the wide range of issues raised by the Internet as a medium, research in this area is interdisciplinary. The science of information, combining language and social communication, is at the forefront of global interactions. The Internet is an effective source of knowledge and a forum for free thought. Nonlinear texts (hypertexts) – «branching texts or texts that perform actions on request», multimedia texts change the principles of information collection, storage and dissemination, involving billions of readers in the discussion of global issues. Mastering the word is not an easy task if the author of the publication is not well-read, is not deep in the topic, does not know the psychology of the audience for which he writes. Therefore, the study of media broadcasting is an important component of the professional training of future journalists. The functions of the language of the media require the authors to make the right statements and convincing arguments in the text. Journalism education is not only knowledge of imperative and dispositive norms, but also apodictic ones. In practice, this means that there are rules in media creativity that are based on logical necessity. Apodicticity is the first sign of impressive language on the platform of print or electronic media. Social expression is a combination of creative abilities and linguistic competencies that a journalist realizes in his activity. Creative self-expression is realized in a set of many important factors in the media: the choice of topic, convincing arguments, logical presentation of ideas and deep philological education. Linguistic art, in contrast to painting, music, sculpture, accumulates all visual, auditory, tactile and empathic sensations in a universal sign – the word. The choice of the word for the reproduction of sensory and semantic meanings, its competent use in the appropriate context distinguishes the journalist-intellectual from other participants in forums, round tables, analytical or entertainment programs. Expressive speech in the media is a product of the intellect (ability to think) of all those who write on socio-political or economic topics. In the same plane with him – intelligence (awareness, prudence), the first sign of which (according to Ivan Ogienko) is a good knowledge of the language. Intellectual language is an important means of organizing a journalistic text. It, on the one hand, logically conveys the author’s thoughts, and on the other – encourages the reader to reflect and comprehend what is read. The richness of language is accumulated through continuous self-education and interesting communication. Studies of social expression as an important factor influencing the formation of public consciousness should open up new facets of rational and emotional media broadcasting; to trace physical and psychological reactions to communicative mimicry in the media. Speech mimicry as one of the methods of disguise is increasingly becoming a dangerous factor in manipulating the media. Mimicry is an unprincipled adaptation to the surrounding social conditions; one of the most famous examples of an animal characterized by mimicry (change of protective color and shape) is a chameleon. In a figurative sense, chameleons are called adaptive journalists. Observations show that mimicry in politics is to some extent a kind of game that, like every game, is always conditional and artificial.

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