AN OVERVIEW ON THE ARTISTRY OF THE CONCERT ACCORDION IN CONTEMPORARY CHAMBER MUSIC. A Performer’s Journey Through Shaping Artistic Identity by Naiara De La Puente Vadillo

In my doctoral research, I aim to examine the role of the accordion in contemporary chamber music performance practices through a process of observation, exploration, examination, and reflection as an accordionist. The focus of this project is centered on four doctoral concerts, in addition to my own embodied experience as a professional musician in Finland and Spain, working with various ensembles and musicians. By integrating artistic processes, outcomes, documentation, interviews, and text, this research aims to contribute new insights and findings to the field of artistic research and to provide a more comprehensive understanding of the complexities of modern accordion performance, professional career, and education. This doctoral research project makes an original contribution to the field by exploring new knowledge and understanding related to artistic identity formation, specifically within the community of concert accordionists. By reflecting on the evolving identity of concert accordionists and considering their potential needs, this research sheds light on the present and future directions in the field. In addition to my own experiences and observations, I have relied on the valuable work conducted by predecessors who have researched various aspects of the concert accordion. The full scope of this doctoral project includes four artistic components (four concerts) and an artistic doctoral thesis comprising an integrative chapter with three interrelated thematic sections. Section One delves into the aspects of the artistic possibilities of concert accordion in contemporary chamber music repertory. Section Two will analyze and examine the evolution of the accordionist's artistic identity formation, while the final section will provide a personal perspective on the evolving identity of concert accordion players and their potential needs within the field and proposes steps for their continued growth and development in the future. Keywords: artistic research, embodiment, classical contemporary music, chamber music, accordion, artistic identity.

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2.3 A Performer´s Approach to Contemporary Chamber Music for the Concert Accordion

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Audio ex.2.3.1–IV: Finale (Hosokawa, In die Tiefe der Zeit, mm. 207–212)

Accordion and clarinets

Video ex.2.3.1–III: Clarinet and accordion engaged in a continuous and fluid dialogue (Tiensuu, Plus I, mm. 132–138)

Audio ex.2.3.1–II: A more intense and dynamic passage, where sudden and dramatic contrasts in the accordion are accompanied by dynamic variations in the clarinet (Hosokawa, In die Tiefe der Zeit, mm. 67–79)

Video ex.2.3.1–I: Example of a total blend of the sound (Tiensuu, Plus I, mm. 34–38)

Video ex.2.3.1–XI: The closing scene of the work (Tiensuu, Plus I, mm. 223–240)

Video ex.2.3.1–V: An interplay of roles (Tiensuu, Plus I, mm. 1–17)

Video ex.2.3.1–VII: Extended techniques: vibrato and tone glissando (Tiensuu, Plus I, mm. 40–49)

Video ex.2.3.1–IX: The synchronization of the instruments and the lively sequences of notes (Tiensuu, Plus I, mm. 116–131)

Video ex.2.3.1–IV: A melodic passage where the clarinet chases the accordion (Tiensuu, Plus I, mm. 186–198)

Video ex.2.3.1–VIII: A charming and gender jocularity (Tiensuu, Plus I, mm. 71–85)

Video ex.2.3.1–II: Blend of the sound in forte (Tiensuu, Plus I, mm. 108–113)

Video ex.2.3.1–VI: A whimsical dialogue (Tiensuu, Plus I, mm. 27–38)

Audio ex.2.3.1–I: Beginning of the piece: long and sustained phrase (Hosokawa, In die Tiefe der Zeit, mm. 1–18)

Video ex.2.3.1–X: A tumultuous conversation leading to the climax of the composition (Tiensuu, Plus I, mm. 200–222)

Audio ex.2.3.1–III: Sound blending in the low register (Hosokawa, In die Tiefe der Zeit, mm. 150–159)

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