ABSTRACT
In comparison with writing about merengue, the iconography, or visual representation, of merengue shows a more complex view of the accordion. Dominican artists’ visual representation of the accordion is different from Dominican authors’ presentation of the same instrument in words. Berto’s descriptive language shows how the construction and tuning of the accordion add to the cultural meaning of the sounds it produces. Accordionists progress from simpler to harder merengues and gradually learn to sing while playing. Some aspects of accordion playing are never formally taught, such as improvising and left-hand technique. The paradox of Fefita is that she is one of the best-loved figures in the Dominican music world, and possesses one of the most admired voices, but her accordion playing is frequently disdained. A quick look at the practice of improvisation in merengue tipico may help to set the record straight regarding the accordion’s capabilities and their relation to típico’s musical complexity.
