Extra-dimensional accordion playing using a surround sound system: Creating new music

Kaat Vanhaverbeke

Approaching the accordion bellows technique explicitly three-dimensionally instead of linearly has been a major step in finding my artistic voice as an accordionist. Hypothetically, the spatial movements implied in playing the accordion, prompt an extra musical dimension and affect with an audience. By addressing this aspect of accordion playing in compositional collaborations and by amplifying the movements of accordion playing and using a surround sound system, the technique, and hypothetically its impact on the audience, is made uncommonly explicit. In two phases and from two different perspectives (i.e. the perspective from an external composer and the composer-performer's perspective) new music for accordion and electronics was created, where the electronics are in both cases directly derivated from the accordion part. However, what it means to amplify and use the particular extra-dimensionality of accordion playing, was left open to the respective composer. The resulting music, presented at the research concert on September 22, 2023, in Studio LOOS The Hague, has shown two individual compositional approaches, yet it was clear that the movements of accordion playing functioned as an interesting and central dissonance within the music. In both the roles of performer and composer, this research has shown its significance. In collaboration with composers, it has introduced a way of working where this specific way of playing the accordion can be established in contemporary repertoire, whereas the electronic-artificial connection between music and movement has created interesting compositional tools suited for future projects.

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Research concert & discussion

On September 22, 2023, I presented my research in Studio LOOS during a research discussion concert. The resulting music has shown two individual compositional approaches, yet it was clear that the movements of accordion playing functioned as an interesting and central dissonance within the music.

Furthermore, I invited the audience to provide feedback and share their impressions. Initially, I planned a public discussion for that, but it turned out to be some informal chats with audience members after my performance. Generally, there were many positive comments. I was pleased by my subtle use of technology, as audience members were intrigued and even a bit confused by the technical specifications behind the music. I received a lot of questions regarding the MIDI ring and my Max patch: how does that work? Besides, many people found the large shadow of me playing the accordion a wonderful image and certainly a big asset of the performance. Another listener suggested using and referring to the physical concert space even more. My Kinetically Interactive Soundscape spoke the most to people’s imagination. One audience member told me she could imagine and explore a whole world of sounds and landscapes in the music. An accordion colleague of mine pointed out its potential in the expansion of the accordion repertoire and suggested writing out the composition for it to be reproduced.

To conclude, this research has shown its significance in both the roles of performer and composer. In collaboration with composers, it has introduced a way of working where this specific way of playing the accordion can be established in contemporary repertoire, whereas the electronic-artificial connection between music and movement has created interesting compositional tools suited for future projects. Additionally, I can imagine it being translated to other instruments that have a major aspect of moving in favor of sound production, such as the trombone or bowed string instruments.

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Research concert & discussion