Accordion As Hermaphrodite

Accordion As Hermaphrodite

I’m convinced that, when it comes to music, I see (or hear) things differently than the average Joe—I think most NewMusicBox readers can relate. Furthermore, my outlook on composition seems amiss when compared to many of my colleagues. Even here in the office, I work alongside two composers obsessed with microtonality—not my cup of tea. Many composers confess to a fascination with numbers, that’s practically a given. But the mania usually spreads into things like form—the surrogate Holy Grail, it seems—and controlling emotional states. I posses none of this. No, I’m much freakier. For instance, I’m infatuated with the sexuality of instrumentation. I kid you not.

I like to play with the persona of an instrument. The machismo of an electric guitar, for example, has inspired me to create works that circumvent the expectations created by having a large array of amps on stage, and instead deliver a delicately intricate piece without a trace of headbanging. In another situation, I might exaggerate the testosterone-level of an instrument. In the past, I’ve emasculated a drum set—making an ersatz setup with phonebooks, rice bowls, and other detritus to correspond with the typical sounds, only dinkier—and set Eddie Van Halen riffs for a piccolo to perform. This is how I amuse myself these days.

When I think about it, I don’t usually write for instruments that don’t have some sort of sexual or gender identity already formed in my head. Right now I’m starting a new commission. The instrumentation includes some of my old friends, such as electric guitar, flute, cello, etc. Thank god there’s no oboe. I mean, I don’t know what to think about the oboe—maybe pair it with an erhu? Chen Yi is totally going to run with that, right? Anyway, I’m faced with some instruments that intrigue me, like accordion. I don’t have to include it, but my curiosity is piqued. Thing is, I now have to decide how to approach the mythology surrounding the instrument: nerdy kid practicing polkas or sultry tango temptress. It’s like nouns in romance languages—things like chairs and hairbrushes have a masculine or feminine designation. Frankly, I’m beginning to think that the accordion might be a hermaphrodite. Am I the only composer afflicted with this strange little quirk when it comes to instrumentation?

NewMusicBox provides a space for those engaged with new music to communicate their experiences and ideas in their own words. Articles and commentary posted here reflect the viewpoints of their individual authors; their appearance on NewMusicBox does not imply endorsement by New Music USA.

4 thoughts on “Accordion As Hermaphrodite

  1. Chris Becker

    …doesn’t the piccolo come from the celebrations of Dionysous? You hear wooden flutes still in Mississippi Hills drum and fife music which is some of the sexiest music out there. And gender kind of goes out the window in that sort of celebrating. Correct me if I have the lineage wrong…

    Your instrumental gender assigning comes off as kind of…vanilla…

  2. William Osborne

    Nationality sometimes influences the gender-coding of instruments in interesting ways. When Western instruments became popular in Japan and Taiwan, no one explained to them that girls weren’t supposed to play low brass. Today about 70 to 80% of the low brass students in those two countries are women.

    And no one explained to us that only men are supposed to play the shakuhachi.

    Here is what happens when you start four British girls on trombone:

    William Osborne


Leave a Reply

Your email address will not be published.

Conversation and respectful debate is vital to the NewMusicBox community. However, please remember to keep comments constructive and on-topic. Avoid personal attacks and defamatory language. We reserve the right to remove any comment that the community reports as abusive or that the staff determines is inappropriate.