The extra dimension: exploring 3D use of the accordion bellows

Kaat Vanhaverbeke

In my search for extradimensionality in accordion playing, I have explored the three-dimensional use of the accordion bellows. This concerns moving the bellows forward or backwards at different angles, instead of typically maintaining a straight line. This research dives deeper into how the 3D bellows technique influences accordion music interpretations. A survey spread to accordion teachers worldwide made clear that this technique is quite unknown and undiscovered. In 4 case studies, video recordings of musical interpretations were compared using a linear bellows concept versus using 3D bellows. After intensive reflection, benefits of the 3D bellows technique became clear. Firstly, it allows a better balance between the right and left-hand manual. Different frequencies and harmonics could be discovered through the 3D use of the bellows, which could lead to more resonance and timbre nuances. Furthermore, the technique enhances direction and phrasing in accordion music, reinforced by the visual perception of 3D bellows. However, the technique should be reviewed in different musical styles: in baroque compositions, for instance, the 3D movements are preferably less explicit. Considering some prerequisite skills, an important concern in the practice process has been when to apply 3D bellows. The research suggests that 3D bellows can be included more explicitly in accordion practice and pedagogy today. It was found to be a useful tool to deepen musical interpretations and musical hearing in accordion students and professionals.

Index

>Titlepage >Introduction >3D bellows in accordion pedagogy

>Experimenting with 3D bellows >Conclusion >References

>Appendix: pedagogic survey

Introduction

In my specialisation as a professional accordion performer, I've been looking for various tools to find deepening and extradimensionality in my musical practice to maximise communication and connection with an audience. Extradimensionality can be understood as the characteristic of having extra dimensions, going beyond what is standard. Among other definitions, 'dimension' can refer to (a) one of the elements or factors making up a complete personality or entity; (b) the quality of spatial extension; (c) a level of existence or consciousness (Merriam-Webster, n.d.). The first definition can be applied to the concept of musical dimensions: in the creation and perception of music, we can identify different elements that together make music. Pitch, rhythm, timbre etc. figure as such musical dimensions in the traditional music discourse (Sloboda, 2001). In the field of music psychology throughout the late 20^th century, these dimensions have been looked at in relation to music perception and cognition, and the affective processes associated with music listening.

A 'dimension' can also refer to a property of space. In the article The spatiality of sounds, author Nicola Di Stefano distinguishes the literal and metaphorical meaning of space when applied to music - which is typically considered a temporal art form. The literal musical space would be sound-source localization, whereas metaphorically, musical space is a non-empirical and phenomenologically experienced space. Its perceptual features can be described, but finding a definition for musical space in itself necessarily fails. In mediating this metaphorical space-conceptualization (rather as a space-feeling than as space-conception), several scholars have acknowledged the role of movement. Musical motion and musical space emerge from the same logic: they are both metaphorical. The conceptualization of musical motion is influenced by our visual experience of the movement of physical objects through space (Di Stefano, 2022).

For accordion players, one technical tool within this described extradimensionality is literally adding an extra dimension to the accordion bellows technique. Practically, this means expanding the possibilities in which direction to move the bellows: moving the bellows forward and backwards for example (possibly in different angles), instead of keeping a straight linear (two-dimensional) bellows concept. With these three-dimensional movements of the bellows, a certain musical spatiality emerges. This research dives deeper into the effects of the 3D bellows technique. The main question is: how do three-dimensional movements of the bellows influence accordion music interpretations? Sub-questions are: what are the benefits of the 3D bellows use? How intensely can this technique be applied? How does it affect the audience?

Few pedagogic methods address the 3D possibilities of the bellows technique, so as a starting point, I reached out to accordion teachers worldwide via an online questionnaire to get an idea of the spread in which this approach is known and used and to gain more input for my research and pedagogical applications. The results of the survey can be found in the first chapter of this research exposition "3D bellows in accordion pedagogy". The next chapter "Experimenting with 3D bellows" displays 4 case studies in which video recordings of musical interpretations were compared using a linear bellows concept versus using 3D bellows.

This research about extradimensionality is first of all an ode to the accordion. The natural strength of the accordion lies in breathing; the bellows are the lungs of the instrument and are constantly moving and expanding in space. A three-dimensional approach to these bellows opens up possibilities and creates nuances in music. Greater awareness of how to make those nuances would result in more refined, more colourful and more style-conscious interpretations.

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Index

Introduction