|Neil Postman: Not an Accordionist|
Postman, in his books Amusing Ourselves to Death and Technopoly, argued that technologies have ideologies. In other words, a new technology encourages some possibilities (values) and discourages others (devalues). The automobile, for example, values mobility and individualism, while devaluing stasis and communitarianism -- to paint with criminally bold strokes.
It struck me that this applies to accordions, as well.
Discussing the Castagnari family of boxes over on melodeon.net, one member recommended the evolving 18-bass system, in general, as "amazingly liberating," and pointed to its prevalence in the current wave of tradFrench players who rarely "play it straight." And he's right, of course. A three-row, 18-bass instrument can play in any key, and can produce the extended harmonies required for "jazzing up" the old tunes. It allows for an enormous amount of freedom.
|Bruno LeTron, 3-rows, 18-basses,|
and the Truth
(Before getting to the next paragraph, I want to make it absolutely clear that I love the music of Bruno LeTron, Didier Laloy, Norbert Pignol, Stéphane Milleret, et al. I am merely making an observation about how available technology impacts values. I understand that I am over-egging the esoteric pudding. It's a good time for me. Are we clear?)
|The Handry 18: Maybe this is|
the last accordion I will