Editing Accordion (section)

==Use in various music genres==
{{main|Accordion music genres}}
[[File:A sexy street performer accordionist Accor de Nonnon or Norie ANZAI 2013-10-12 Nakano City Tokyo Japan.jpg|thumb|A street performer playing the accordion]]
The accordion has traditionally been used to perform folk or [[ethnic music]], popular music, and transcriptions from the operatic and light-classical music repertoire.<ref>Henry Doktorski, CD booklet notes for "[[Guido Deiro]]: Complete Recorded Works, Vol. 1", [[Archeophone Records]] (2007)</ref> It was also used by the [[Kikuyu people|Kikuyu]] tribe in [[Kenya]] and is the main instrument in the traditional Mwomboko [[dance]].<ref>{{Cite web |title=The Lord of the Dance|url=https://whyilovekenya.com/portfolio-items/the-lord-of-the-dance/|access-date=2020-08-24|website=WILK|language=en-US |url-status=dead |archive-url=https://web.archive.org/web/20201128225444/https://whyilovekenya.com/portfolio-items/the-lord-of-the-dance/ |archive-date=Nov 28, 2020 }}</ref> Today the instrument is sometimes heard in contemporary pop styles, such as rock and pop-rock,<ref>Sometimes in modern pop music the accordion is not actually played, but its sound is heard by use of a MIDI instrument and sampled sound module.</ref> and occasionally even in serious classical music concerts, as well as advertisements.

===Use in traditional music===
{{main|Accordion music genres#Use in traditional music|l1=Accordion in traditional music}}
[[File:Antonia Begonia accordion MACRoCk 2009 Little Grill Collective Harrisonburg VA April 2009.jpg|right|thumb|A folk accordionist, 2009]]

The accordion's popularity spread rapidly: it has mostly been associated with the common people, and was propagated by Europeans who emigrated around the world. The accordion in both button and piano forms became a favorite of folk musicians<ref>Christoph Wagner, "A Brief History of How the Accordion Changed the World", CD booklet notes for Planet Squeezebox, performed by various artists, (Roslyn, New York: Ellipsis Arts, 1995), 6</ref> and has been integrated into [[traditional music]] styles all over the world: see the [[list of music styles that incorporate the accordion]].

===Use in jazz===
====Notable jazz accordionists====
Early jazz accordionists include Charles Melrose, who recorded ''Wailing Blues/Barrel House Stomp'' (1930, Voc. 1503) with the Cellar Boys; Buster Moten, who played second piano and accordion in the Bennie Moten orchestra; and Jack Cornell, who did recordings with Irving Mills. Later jazz accordionists from the United States include [[Steve Bach (musician)|Steve Bach]], [[Milton DeLugg]], [[Orlando DiGirolamo]], [[Angelo Di Pippo]],<ref>[https://books.google.com/books?id=KEHGs88c-aAC&dq=Angelo+Dipippo&pg=PT394 The Biographical Encyclopedia of Jazz. Feather, Leonard. Gitler, Ira Eds. Oxford University Press. 2007 ebook ISBN 9780195320008 Angelo Di Pippo Biography on Google Books]</ref><ref>[https://www.allmusic.com/artist/angelo-di-pippo-mn0000049382 Angelo Di Pippo Biography on allmusic.com]</ref><ref>[https://www.imdb.com/name/nm8318785/ Angelo Di Pippo Biography on imbd]</ref><ref name="angelodipippo.com">[https://www.angelodipippo.com/ Angelo Di Pippo Biography on angelodipippo.com]</ref> [[Dominic Frontiere]], [[Guy Klucevsek]], [[Yuri Lemeshev]], [[Frank Marocco]], Dr. William Schimmel, [[John Serry Sr.]],<ref>[https://adp.library.ucsb.edu/index.php/mastertalent/detail/343174/Serry_John Discography of American Historical Recordings: University of California Santa Barbara – Audio recordings online of John Serry and the Shep Fields Rippling Rhythm Jazz Orchestra 1937–1938]</ref> [[Lee Tomboulian]], and [[Art Van Damme]]. French jazz accordionists include [[Richard Galliano]], [[Bernard Lubat]], and [[Vincent Peirani]]. Norwegian jazz accordionists include [[Asmund Bjørken]], [[Stian Carstensen]], [[Gabriel Fliflet]], [[Frode Haltli]], and [[Eivin One Pedersen]].

====Left hand techniques====
The constraints of the [[Stradella bass system]], limiting the left hand to preset chord buttons, is a barrier to some jazz chord conventions. Jazz accordionists expand the range of chord possibilities by using more than one chord button simultaneously, or by using combinations of a chord button and a bass note other than the typical root of the chord. An example of the former technique is used to play a [[minor seventh chord]]. To play an Am<sup>7(add9)</sup> chord, the Am and Em preset buttons are pressed simultaneously, along with an A bassnote. An example of the latter technique is used to play the [[half-diminished chord]]. To play an E<sup>ø7</sup>, a Gm preset button is pressed along with an E bassnote.

For the left hand, the [[free-bass system]] is used in jazz as a means of creating complex chord voicings. Jazz harmony that would otherwise be difficult to replicate with the Stradella bass system, such as [[tritone substitution]]s, become more accessible using a free-bass accordion.<ref>Jacobson, M. [Squeeze This – A Cultural History of the Accordion in America]. University of Illinois Press. {{ISBN|978-0-252-03675-0}}</ref>

===Use in popular music===
{{main|Accordion music genres#Use in popular music}}
{{See also|List of popular music acts that incorporate the accordion}}
{{Listen
|title=New York Blues
|filename=Pietro Frosini - New York Blues (1916) - hiss reduced.ogg
|description=A 1916 recording of "New York Blues" composed and performed by [[Pietro Frosini]], one of the first major stars of the accordion
}}
[[File:John Linnell 2011-11-10.jpg|thumb|John Linnell of [[They Might Be Giants]] playing a Main Squeeze 911]]
The accordion appeared in [[popular music]] from the 1900s to the 1960s. This half-century is often called the "golden age of the accordion".<ref name="Jacobson">{{cite book|last1=Jacobson|first1=Marion|title=Squeeze This: A Cultural History of the Accordion in America|date=2012|publisher=University of Illinois|isbn=978-0252093852|page=174|url=http://www.press.uillinois.edu/books/catalog/47bqd8bm9780252036750.html|access-date=10 August 2016|archive-url=https://web.archive.org/web/20160331151241/http://www.press.uillinois.edu/books/catalog/47bqd8bm9780252036750.html|archive-date=31 March 2016}}</ref> Five players, [[Pietro Frosini]], the two brothers Count [[Guido Deiro]] and [[Pietro Deiro]] and Slovenian brothers Vilko Ovsenik and [[Slavko Avsenik]], Charles Magnante were major influences at this time.<ref name="SloveniaGrieving">{{cite web|title=Slovenia is Grieving for the Legendary Musician Slavko Avsenik|url=http://www.slovenia.si/visit/news/n/slovenia-is-grieving-for-the-legendary-musician-slavko-avsenik/|website=Slovenia.si|access-date=10 August 2016|archive-url=https://web.archive.org/web/20150921060458/http://www.slovenia.si/visit/news/n/slovenia-is-grieving-for-the-legendary-musician-slavko-avsenik/|archive-date=21 September 2015|date=8 July 2015}}</ref>

Most [[vaudeville]] theaters closed during the [[Great Depression]], but accordionists during the 1930s–1950s taught and performed for radio. Included among this group was the concert virtuoso [[John Serry, Sr.]]<ref>''The Los Angeles Examiner''  9 October 1938, p. 1</ref><ref>Jacobson, Marion (2012). ''Squeeze This: A Cultural History of the Accordion in America''. University of Illinois Press, Chicago, p. 61. {{ISBN|978-0-252-03675-0}}</ref><ref>{{cite book|title=A Pictorial History of Radio|last=Settel|first=Irving|publisher=[[Grosset & Dunlap]]|location=New York|orig-year=1960|year=1967|page=146|lccn=67-23789|oclc=1475068}}</ref> During the 1950s through the 1980s the accordion received significant exposure on television with performances by [[Myron Floren]] on ''[[The Lawrence Welk Show]]''.<ref>Myron Floren and Randee Floren, ''Accordion Man'', with a foreword by Lawrence Welk (The Stephen Greene Press, Brattleboro, Vermont: 1981)</ref> In the late 1950s and early 1960s, the accordion declined in popularity because of the rise of rock and roll.<ref>{{Cite journal|last=Kafka|first=Alexander|year=2012|title=Accordion File|journal=The Chronicle of Higher Education|via=Proquest}}</ref> The first accordionist to appear and perform at the Newport Jazz Festival was Angelo DiPippo. He can be seen playing his accordion in the motion picture ''The Godfather''. He also composed and performed with his accordion on part of the soundtrack of Woody Allen's movie ''To Rome With Love''. He was featured twice on ''The Tonight Show'' with Johnny Carson.

[[Richard Galliano]] is an internationally known accordionist whose repertoire covers jazz, tango nuevo, Latin, and classical. Some popular bands use the instrument to create distinctive sounds. A notable example is [[Grammy Award|Grammy Award–winning]] [[Parody music|parodist]] [["Weird Al" Yankovic]], who plays the accordion on many of his musical tracks, particularly his [[polka]]s. Yankovic was trained in the accordion as a child.<ref name="GraffDurchholz2012">{{cite book|last1=Graff|first1=Gary|last2=Durchholz|first2=Daniel|title=Rock 'n' Roll Myths: The True Stories Behind the Most Infamous Legends|url=https://books.google.com/books?id=JWlSUYbiUXUC&pg=PT152|year=2012|publisher=MBI Publishing Company|isbn=978-1-61058-571-2|page=152}}</ref>

The accordion has also been used in the rock genre, most notably by [[John Linnell]] of [[They Might Be Giants]], featuring more prominently in the band's earlier works.<ref>{{Cite web|url=http://tmbw.net/wiki/Accordion|title=Accordion – TMBW: The They Might Be Giants Knowledge Base|website=tmbw.net|language=en|access-date=10 June 2018}}</ref> The instrument is still frequently used during live performances, and continues to make appearances in their studio albums. Accordion is also used in the music of the [[Dropkick Murphys]] and [[Gogol Bordello]]. [[Tom Waits]] used the accordion extensively (often played by Dr. William Schimmel) on his album ''[[Rain Dogs]]'' and ''[[Franks Wild Years]]''.{{cn|date=April 2025}} The [[folk metal]] subgenre also employs accordionists, but they are otherwise generally rare in other genres. Full-time accordionists in folk metal seem even rarer, but they are still utilized for studio work, as flexible keyboardists are usually more accessible for live performances. The Finnish symphonic folk-metal band [[Turisas]] used to have a full-time accordionist, employing classical and polka sensibilities alongside a violinist. One of their accordionists, [[Netta Skog]], is now a member of [[Ensiferum]], another folk-metal band. Another Finnish metal band, [[Korpiklaani]], invokes a type of Finnish polka called [[humppa]], and also has a full-time accordionist. Sarah Kiener, the former [[hurdy-gurdy]] player for the Swiss melodic-death-folk metal band [[Eluveitie]], played a [[Helvetic Republic|Helvetic]] accordion known as a ''zugerörgeli''.{{Citation needed|date=January 2020}}

===Use in classical music===
{{Main|Accordion music genres#Use in classical music|l1=Accordion in classical music}}

Although best known as a folk instrument, it has grown in popularity among classical composers. The earliest surviving concert piece is ''{{lang|fr|Thême varié très brillant pour accordéon methode Reisner}}'', written in 1836 by Louise Reisner of Paris. Other composers, including the Russian [[Pyotr Ilyich Tchaikovsky]], the Italian [[Umberto Giordano]], and the American [[Charles Ives]], wrote works for the diatonic button accordion.

[[File:Эса Пакаринен.png|thumb|Finnish accordionist [[Esa Pakarinen]] (Feeliks Esaias Pakarinen, 1911–1989)]]
The first composer to write specifically for the [[chromatic music|chromatic]] accordion was [[Paul Hindemith]].<ref>[http://www.akkordeon-online.de/english.htm ''Accordion Composers in German''] {{Webarchive|url=https://web.archive.org/web/20071107190534/http://www.akkordeon-online.de/english.htm |date=7 November 2007 }} Accordion Online</ref> In 1922, the Austrian [[Alban Berg]] included an accordion in ''[[Wozzeck]]'', Op. 7. In 1937, the first [[accordion concerto]] was composed in Russia. Other notable composers have written for the accordion during the first half of the 20th century.<ref>Henry Doktorski, "The Classical Squeezebox: A Short History of the Accordion and Other Free-Reed Instruments in Classical Music", The Classical Free-Reed, Inc. (1997)</ref> Included among this group was the Italian-American [[John Serry Sr.]], whose ''[[Concerto for Free Bass Accordion]]'' was completed in 1964.<ref>Library of Congress Copyright Office, "Concerto in C Major for Bassetti Accordion", Composer: John Serry, 4 June 1968, Copyright # EP247602.</ref><ref>[https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf Eastman School of Music - University of Rochester - Sibley Music Library: John J. Serry Sr. Collection score "Concerto in C Major (1967) for Free Bass Accordion", Folder 15 & 16 p. 10 archived at the University of Rochester Eastman School of Music Sibley Music Library Special collections on esm.rochester.edu]</ref><ref>''Accordion World'', Bedford Hills, NY, 1968.</ref> In addition, the American accordionist [[Robert Davine]] composed his ''Divertimento for Flute, Clarinet, Bassoon and Accordion'' as a work for chamber orchestra.<ref>{{cite web|url=http://www.kcstudio.com/davine2.html|title=Robert Davine Interview with Bruce Duffie ... .|website=Kcstudio.com}}</ref> American composer [[William P. Perry]] featured the accordion in his orchestral suite ''Six Title Themes in Search of a Movie'' (2008). The experimental composer [[Howard Skempton]] began his musical career as an accordionist, and has written numerous solo works for it. In his work ''Drang'' (1999), British composer John Palmer pushed the expressive possibilities of the accordion/bayan. [[Luciano Berio]] wrote ''Sequenza XIII'' (1995) for accordionist Teodoro Anzellotti.<ref>{{Cite web|url=https://www.universaledition.com/composers-and-works/luciano-berio-54/works/sequenza-xiii-4612|title=Universal Edition|website=Universaledition.com|access-date=22 April 2021}}</ref> Accordionists like [[Mogens Ellegaard]], [[Joseph Macerollo]], [[Nick Ariondo]], Friedrich Lips, Hugo Noth, Dr. William Schimmel (also a composer), [[Stefan Hussong]], Teodoro Anzellotti, and Geir Draugsvoll, encouraged composers to write new music for the accordion (solo and chamber music) and also started playing baroque music on the free bass accordion.

French composer [[Henri Dutilleux]] used an accordion in both his late song cycles ''Correspondences'' (2003) and ''[[Le Temps L'Horloge]]'' (2009). Russian-born composer [[Sofia Gubaidulina]] has composed solos, concertos, and chamber works for accordion. Astor Piazzolla's concert tangos are performed widely. Piazzolla performed on the bandoneon, but his works are also performed on or accordion. Dr. William schimmel and "The Tango Project" recorded a number of hit recordings and appeared in the movie ''[[Scent of a Woman (1992 film)|Scent of a Woman]]'' with Al Pacino which earned Pacino an Oscar. Their recordings were used in many films.

===Australia===
The earliest mention of the novel accordion instrument in [[Music of Australia|Australian music]] occurs in the 1830s.<ref>{{cite news |url=http://nla.gov.au/nla.news-article172895152 |title=The Colonial Tides. The Regatta Dinner. |newspaper=Trumpeter General |issue=29 |location=Tasmania |date=7 March 1834 |access-date=2 December 2018 |page=2 |via=National Library of Australia}}</ref>
The accordion initially competed against cheaper and more convenient reed instruments such as mouth organ, concertina and melodeon.
[[Frank Fracchia]] was an Australian accordion composer<ref>{{cite news |url=http://nla.gov.au/nla.news-article42462163 |title=Advertising |newspaper=[[Cairns Post]] |issue=13,660 |location=Queensland, Australia |date=12 December 1945 |access-date=2 December 2018 |page=3 |via=National Library of Australia}}</ref> and copies of his works "My dear, can you come out tonight"<ref>{{Citation | author1=Fracchia, F | author2=Sproule, Nellie | title=My dear, can you come out tonight | date=1930 | url=https://trove.nla.gov.au/work/191726251 | access-date=2 December 2018 |via=National Library of Australia}}</ref> and "Dancing with you"<ref>{{Citation | author1=Fracchia, F | author2=Sproule, Nellie | title=Dancing with you | date=1944 | url=https://trove.nla.gov.au/work/193500216 | access-date=2 December 2018 |via=National Library of Australia}}</ref> are preserved in Australian libraries.
Other Australian composers who arranged music for accordion include [[Reginald Stoneham]].<ref>{{Citation
  | title=Memories of a lovely lei [music] / Reg. Stoneham
  | author1=Stoneham, Reginald A. A.
  | author2=Humphries, Don
  | author3=Adams, Les
  | author4=Bowden, Charles
  | publisher=Reginald Stoneham Publishing House
  | language=en
  | url=https://nla.gov.au/nla.obj-170238976
}}</ref>
The popularity of the accordion peaked in the late 1930s<ref>{{cite news |url=http://nla.gov.au/nla.news-article83703103 |title=Accordion Craze  |newspaper=[[Daily News (Perth, Western Australia)|Daily News]] |volume=LI |issue=17,892 |location=Western Australia |date=16 July 1932 |access-date=3 December 2018 |page=4  |via=National Library of Australia}}</ref> and continued until the 1950s.<ref>{{cite news |url=http://nla.gov.au/nla.news-article167728833 |title=Piano Accordion Club Popular |newspaper=[[The Southern Cross (South Australia)|The Southern Cross]] |volume=LXII |issue=3105 |location=South Australia |date=10 March 1950 |access-date=3 December 2018 |page=8 |via=National Library of Australia}}</ref>
The accordion was particularly favoured by buskers.<ref>{{cite news |url=http://nla.gov.au/nla.news-article198329482 |title=Gossip of the Day  |newspaper=[[The Evening News (Rockhampton)|The Evening News]] |issue=4117 |location=Queensland, Australia |date=24 January 1935 |access-date=3 December 2018 |page=6 |via=National Library of Australia}}</ref><ref>{{cite news |url=http://nla.gov.au/nla.news-article144255196 |title=Australianalities  |newspaper=[[The Daily Advertiser (Wagga Wagga)|Daily Advertiser]] |location=New South Wales, Australia |date=9 April 1940 |access-date=3 December 2018 |page=3 |via=National Library of Australia}}</ref>

===Bosnia and Herzegovina===
The accordion is a traditional instrument in [[Bosnia and Herzegovina]]. It is the dominant instrument used in [[sevdalinka]], a traditional genre of folk music from Bosnia and Herzegovina.<ref>{{Cite web |date=2020-12-16 |title=Sevdah |url=https://bosniak.org/sevdah/ |access-date=2023-11-13 |website=Congress of Bosniaks of North America |language=en-US}}</ref>

===Brazil===
[[File:Dominguinhos de Morais.jpg|thumb|right|150px|Brazilian accordionist [[Dominguinhos]] (José Domingos de Morais, 1941–2013)]]
The accordion was brought to Brazil by settlers and immigrants from Europe, especially from Italy and Germany, who mainly settled in the south (Rio Grande do Sul, Santa Catarina and Paraná). The first instrument brought was a "Concertina" (a 120 button chromatic accordion).<ref name="auto">{{Cite web|url=https://ciadoacordeon.com.br/cia-do-acordeon-historia.html|title=Cia do Acordeon – História do Acordeon|website=ciadoacordeon.com.br|language=pt|access-date=1 November 2018|archive-date=23 December 2018|archive-url=https://web.archive.org/web/20181223030259/https://ciadoacordeon.com.br/cia-do-acordeon-historia.html|url-status=dead}}</ref> The instrument was popular in the 1950s, and it was common to find several accordions in the same house. There are many different configurations and tunes which were adapted from the cultures that came from Europe.

Accordion is the official symbol instrument of the Rio Grande do Sul state, where was voted by unanimity in the deputy chamber.<ref>{{Cite web|url=http://www2.al.rs.gov.br/dal/Sess%C3%A3oPlen%C3%A1ria/DetalheVotacao/tabid/5627/Default.aspx?idProjeto=6484|title=DetalheVotacao|last=Legislativo|first=Departamento de Assessoramento|website=2.al.rs.gov.br|language=pt-BR|access-date=1 November 2018|archive-date=24 July 2020|archive-url=https://web.archive.org/web/20200724223911/http://www2.al.rs.gov.br/dal/Sess%C3%A3oPlen%C3%A1ria/DetalheVotacao/tabid/5627/Default.aspx?idProjeto=6484|url-status=dead}}</ref>
During the boom of accordions there were around 65 factories in Brazil, where most of them (52) in the south, in Rio Grande do Sul state, with only 7 outside the south. One of the most famous and genuinely Brazilian brands was Accordeões Todeschini from Bento Gonçalves-RS, closed in 1973. The Todeschini accordion is very appreciated today and survives with very few maintainers.<ref>{{Cite web|url=http://www.acordeom.com.br/menu/not2.php?id=1|title=noticias|website=Acordeom.com.br|access-date=1 November 2018|archive-date=24 June 2018|archive-url=https://web.archive.org/web/20180624053359/http://www.acordeom.com.br/menu/not2.php?id=1|url-status=dead}}</ref><ref>{{Cite web|url=https://www.lojamanomonteiro.com.br/interna.php?cod=17770|title=Todeschini a História|website=Lojamanomonteiro.com.br|access-date=1 November 2018}}</ref> The most notable musicians of button accordions are [[Renato Borghetti]], Adelar Bertussi, Albino Manique and Edson Dutra.<ref name="auto"/>

Compared to many other countries, the instrument is very popular in mainstream pop music. In some parts of the country, such as the northeast it is the most popular melodic instrument. As opposed to most European folk accordions, a very dry tuning is usually used in Brazil. Outside the south, the accordion (predominantly the piano accordion) is used in almost all styles of [[Forró]] (in particular in the subgenres of [[Xote]] and [[baião (music)|Baião]]) as the principal instrument, [[Luiz Gonzaga]] (the "King of the Baião") and [[Dominguinhos]] being among the notable musicians in this style from the northeast. In this musical style the typical combination is a trio of accordion, [[Triangle (musical instrument)|triangle]] and [[zabumba]] (a type of drum).

This style has gained popularity recently, in particular among the student population of the southeast of the country (in the Forró Universitário genre, with important exponents today being Falamansa, and trios such as Trio Dona Zefa, Trio Virgulino and Trio Alvorada). Moreover, the accordion is the principal instrument in Junina music (music of the São João Festival), with Mario Zan having been a very important exponent of this music. It is an important instrument in [[Música sertaneja|Sertanejo]] (and Caipira) music, which originated in the midwest and southeast of Brazil, and subsequently has gained popularity throughout the country.

===China===
The number of accordionists in China exceeds every other country in the world, and possibly every country combined. Introduced in 1926, the accordion has risen to popularity in China throughout the years, thanks to Russian teachers and its being a popular instrument in the [[People's Liberation Army]], and remains popular.<ref>{{Cite web |title=Accordion History in China |url=http://www.accordions.com/index/his/his_cn.shtml |access-date=22 April 2021 |website=Accordions.com}}</ref>

In the late 20th century, the development of high performance standards for the accordion within China's halls of academe was also influenced by several American virtuosos including [[Robert Davine]], who was invited by the Ministry of Culture of the People's Republic to present Master Classes and to broaden its national program of music for the accordion in 1984.<ref name="accordions.com">{{cite web|url=http://www.accordions.com/memorials/mem/davine/index.shtml|title=Robert Davine is professor of accordion and theory at the University of Denver|website=www.accordions.com}}</ref><ref name="ksanti.net">{{cite web|url=http://www.ksanti.net/free-reed/essays/davinetribute.html|title=The Classical Free-Reed, Inc.: Robert Davine|website=www.ksanti.net}}</ref><ref>{{cite web|url=https://www.chicagotribune.com/news/ct-xpm-1985-01-17-8501100096-story.html|title=ACCORDION STRIKES A CHORD OF POPULARITY WITH THE CHINESE|first=Justin Mitchell, Scripps-Howard News|last=Service|website=chicagotribune.com|date=17 January 1985 }}</ref>

===Colombia===
The accordion is also a traditional instrument in Colombia, commonly associated with the [[vallenato]] and [[cumbia]] genres. The accordion has been used by [[tropipop]] musicians such as [[Carlos Vives]], [[Andrés Cabas]], [[Fonseca (singer)]] and [[Bacilos]], as well as rock musicians such as [[Juanes]] and pop musicians as [[Shakira]]. Vallenato, who emerged in the early twentieth century in [[Valledupar]], and have come to symbolize the folk music of Colombia.<ref>{{cite book |last1=Torres |first1=George |title=Encyclopedia of Latin American popular music |date=2013 |location=Santa Barbara, Calif. |isbn=978-0313340314}}</ref>

Every year in April, Colombia holds one of the most important musical festivals in the country: the [[Vallenato Legend Festival]]. The festival holds contests for best accordion player. Once every decade, the "King of Kings" accordion competition takes place, where winners of the previous festivals compete for the highest possible award for a vallenato accordion player: the ''Pilonera Mayor'' prize.<ref>Smithsonian Channel, [https://archive.today/20130630080628/http://www.smithsonianchannel.com/site/sn/show.do?show=134604 "The Accordion Kings"], 15 August 2010.</ref> This is the world's largest competitive accordion festival.

=== Czech Republic ===
[[File:Zlatá Praha (8).ogg|thumb|At U Flekú, Prague]]  
Accordion is often played at traditional Czech pubs, such as U Flekú, Prague.

===Mexico===
[[File:Tijuana-performers.jpg|thumb|right|200px|A Norteño band, including an accordion]]
[[Norteño (music)|Norteño]] heavily relies on the accordion; it is a genre related to polka. [[Ramón Ayala]], known in Mexico as the "King of the Accordion", is a norteño musician. [[Cumbia]], which features the accordion, is also popular with musicians such as [[Celso Piña]], creating a more contemporary style. U.S.-born Mexican musician [[Julieta Venegas]] incorporates the sound of the instrument into rock, pop and folk. She was influenced by her fellow Chicanos [[Los Lobos]] who also use the music of the accordion.<ref>{{Cite news|url=https://www.houstonchronicle.com/local/gray-matters/article/Julieta-Venegas-6839928.php|title=Julieta Venegas: Life and songs in two cultures|first=David|last=Dorantes|date=18 February 2016|newspaper=[[Houston Chronicle]]|access-date=22 April 2021}}</ref>

===North Korea===
According to [[Barbara Demick]] in ''[[Nothing to Envy]]'', the accordion is known as "the people's instrument" and all North Korean teachers were expected to learn the accordion.<ref>{{Cite news|url=https://www.telegraph.co.uk/travel/destinations/asia/north-korea/galleries/what-you-didn-t-know-about-north-korea/accordians/ |archive-url=https://ghostarchive.org/archive/20220111/https://www.telegraph.co.uk/travel/destinations/asia/north-korea/galleries/what-you-didn-t-know-about-north-korea/accordians/ |archive-date=11 January 2022 |url-access=subscription |url-status=live|title=20 incredible things you didn't know about North Korea|work=The Telegraph|access-date=2 April 2018|language=en-GB}}{{cbignore}}</ref>

===United States===
Accordions are played in [[Tejano music]], [[Cajun music|Cajun]] and [[Creole music]], [[zydeco]], [[klezmer]], and [[Polka in the United States|polka]].<ref>{{Cite book |last=Simonett |first=Helena |title=The accordion in the Americas: klezmer, polka, tango, zydeco, and more! |date=2012 |publisher=University of Illinois Press |isbn=978-0-252-03720-7 |series=Music in American life |location=Urbana, Ill}}</ref>

During the post-World War II era from the 1940s to the 1960s, accordions were widely used in the United States for performances of traditional Western [[classical music]] within the configuration of large free-reed symphonic orchestras both in live performances on the concert hall stage and in phonograph recordings.<ref>[https://books.google.com/books?id=bPhXe_qNy5QC&dq=Accordeon+Orchestra+joe+Biviano&pg=PA78 Squeese This! A Cultural History of the Accordion in America. Jacobson, Marion. University of Illinois Press. 2012. p. 78-80 ebook ISBN 9780252093852Accordion Orchestra Joe Biviano on Google Books on Google Books]</ref><ref>[https://books.google.com/books?id=oiNtRleCw6wC&q=John+Serry Music Trades: "Accordion Orchestra Featured on New Coral 12" Record" Vol. 109, 1961 p. 84 John Serry on Google Books]</ref><ref>[https://www.discogs.com/master/1445202-Pietro-Deiro-Joe-Biviano-The-Accordion-Orchestra/image/SW1hZ2U6MzQyODM1NjE= "Pietro Deiro Presents The Accordion Orchestra - Under Direction of Joe Biviano" Coral Records (CRL-57323, 1960) See album cover for performers credits including John Serry, Eugene Ettore, Carmen Carrozza and Angelo Di Pippo. Pietro Deiro on Discogs.com]</ref><ref>[https://books.google.com/books?id=hR8EAAAAMBAJ&dq=Pietro+Deiro+Presents+the+Accordion+Orchestra&pg=PA33 Pietro The Billboard- Reviews and Ratings of New albums: "Pietro Deiro Presents The Accordion Orchestra" (Coral, CRL-57323), 27 June 1960 p. 33 Pietro Deiro Presents the Accordion Orchestra on Google Books]</ref><ref>[https://www.bsnpubs.com/decca/coral/coral.html The Coral Album Discography. Edwards, David. Callahan, Mike. Eyrles, Patrice. Watts, Randy. Neely, Timothy. April 27, 2014. CRL-57323 "Pietro Deiro Presents the Accordion Orchestra" (1960) on bsnpubs.com]</ref> Included among the leading accordion orchestras were: The New York Accordion Symphony in New York City, The Springfield Accordion Orchestra in Massachusetts, The Houston Accordion Symphony in Houston, Texas and The Philadelphia Accordion Orchestra in Philadelphia, Pennsylvania.<ref>[https://books.google.com/books?id=bPhXe_qNy5QC&dq=Accordeon+Orchestra+joe+Biviano&pg=PA78 Squeeze This! A Cultural History of the Accordion in America]. Jacobson, Marion. University of Illinois Press. 2012, pp. 78-79 ebook ISBN 978-0-252-09385-2 Accordion Orchestra on Google Books</ref> Prominent orchestra members included: Joe Biviano (President of the [[American Accordionists Association]])<ref>[https://www.ameraccord.com/2018graphics/Biviano-Magnante.htm "American Accordionists Association: Joe Biviano and Charles Magnante - A Lifetime Commitment to the American Accordionists Association". Joe Biviano BBiography on ameraccord.com]</ref><ref>[https://www.google.com/books/edition/Squeeze_This/bPhXe_qNy5QC?hl=en&gbpv=1&dq=Joe+Biviano+Squeeze+This&pg=PA93&printsec=frontcover "Squeeze This! A Cultural History of the Accordion in the United States"]. Jacobson, Marion. University of Illinois Press 2012 p. 93 ISBN 9780252093852 Joe Biviano on google books</ref> [[Carmen Carrozza]],<ref>[https://www.google.com/books/edition/Squeeze_This/bPhXe_qNy5QC?hl=en&gbpv=1&dq=Carmen+Carrozza+Squeeze+this&pg=PA85&printsec=frontcover "Squeeze This! A Cultural History of the Accordion in the United States"]. Jacobson, Marion. University of Illinois Press 2012 p. 85 ISBN 9780252093852 Carmen Carrozza on google books</ref><ref>[https://www.google.com/books/edition/Accordion_World/llkI0NGE6M4C?hl=en&gbpv=1&bsq=Carmen+Carrozza&dq=Carmen+Carrozza&printsec=frontcover "Accordion World" Gerstner Publications 1957 Vol. 22 p. 55 Pietro Deiro and Carmen Carrozza on Google Books]</ref> Orlando Di Girolamo (President of the American Symphony Society),<ref>[https://www.google.com/books/edition/Music_Trades/oiNtRleCw6wC?hl=en&gbpv=1&bsq=Orlando+Girolamo+accordionist&dq=Orlando+Girolamo+accordionist&printsec=frontcover "Music Trades", Music Trades Corporation, "Accordion Orchestra Featured On New Coral 12" Record" 1961  Vol. 109, p. 84 Orlando Girolamo on Google books](</ref> Tony Mecca (who collaborated with [[Leonard Bernstein]]),<ref>[https://www.google.com/books/edition/Accordion_journalen/o3581w3ghtcC?hl=en&gbpv=1&bsq=Orlando+Girolamo+accordionist&dq=Orlando+Girolamo+accordionist&printsec=frontcover "Accordion Journal"  Vol 12-13 p. 21 Tony Mecca on Google Books]</ref><ref>[https://www.google.com/books/edition/The_Accordion_in_All_Its_Guises/g3kJAQAAMAAJ?hl=en&gbpv=1&bsq=Tony+Mecca+accordion&dq=Tony+Mecca+accordion&printsec=frontcover "The Accordion in all its Guises". Miller, Malcom. Harwood Academic Publishers 2010 p. 88 Tony Mecca on google books]</ref> Angelo Di Pippo (jazz accordionist and arranger for [[Robert Merrill]]),<ref>[https://www.google.com/books/edition/The_Biographical_Encyclopedia_of_Jazz/KEHGs88c-aAC?hl=en&gbpv=1&dq=Angelo+Di+Pippo+biography&pg=PA181&printsec=frontcover "The Biographical Encyclopedia of Jazz"] Feather, Leonard. Gitler, Ira. Ed. Oxford University Prress 2007 p. 181 ISBN 9780195074185  Angelo Di Pippo Biography on Google Books</ref><ref name="angelodipippo.com"/> [[John Serry Sr.]]<ref>[https://www.google.com/books/edition/Music_Trades/oiNtRleCw6wC?hl=en&gbpv=1&bsq=Orlando+Girolamo+accordionist&dq=Orlando+Girolamo+accordionist&printsec=frontcover "Music Trades", Music Trades Corporation, "Accordion Orchestra Featured On New Coral 12" Record"  1961  Vol. 109, p. 84 John Serry on Google books]</ref><ref>[https://worldradiohistory.com/Archive-All-Music/International-Musician/50s/International-Musician-1951-05.pdf ''International Musician'' – "Accordion Instrument Played with A Smile", Hope Stoddard, May 1951, pp. 10-11 Contributing authors: Charles Nunzio and Sergei Matsusewitch – Photographs of John Serry, Joe Biviano and Anthony Mecca in the article published by the American Federation of Musicians' magazine "International Musician" on worldradiohistory.com]</ref> and Alfonso Veltri (Director of the National Conservatory of Music).<ref>[https://www.google.com/books/edition/Accordion_journalen/o3581w3ghtcC?hl=en&gbpv=1&bsq=Alfonso+Veltri+accordion&dq=Alfonso+Veltri+accordion&printsec=frontcover "Accordion Journal - Pietro Deiro Presents the Accordion Orchestra - under the Direction of Joe Biviano"  Vol 12-13 p. 21 Alfonso Veltri on Google Books]</ref>  By the 1960s recordings by such orchestras were even praised for their high level of musicality in ''The Billboard'' magazine.<ref>[https://books.google.com/books?id=hR8EAAAAMBAJ&dq=Pietro+Deiro+Presents+the+Accordion+Orchestra&pg=PA33 Pietro The Billboard- Reviews and Ratings of New albums: "Pietro Deiro Presents The Accordion Orchestra" (Coral, CRL-57323), 27 June 1960 p. 33 "Pietro Deiro Presents the Accordion Orchestra" album review on Google Books]</ref><ref>[https://www.jstor.org/stable/40071656?searchText=%28John+Serry%29+AND+%28accordion%29&searchUri=%2Faction%2FdoBasicSearch%3FQuery%3DJohn%2BSerry%26so%3Drel%26prq%3Daccordion%26swp%3Don&ab_segments=0%2Fbasic_search_gsv2%2Fcontrol&refreqid=fastly-default%3A4fe43da08b29080cacb7f86a23e772ea&seq=29 ''American Music'' - "Searching for the Rockordion: The Changing Image of the Accordion in America". Jacobson, Marion S. University of Illinois Press Vol. 25, No. 2 (Sommer 2007) pp.216-247, See pp. 220-225 on https://www.jstor.org/stable/40071656]</ref>