Thanks, Scoville.

I appreciate you posting those links-for me and for others who may be interested.

I'm trying to remain open to new sounds and new experiences.

Here's some information about the accordian that I learned from goggling:

"The accordion certainly gets around. In the almost two centuries since its invention, in one form or another, it has found its way to the far corners of the globe. Be it called "acordeon" or "bayan" or "trekspill" or "fisarmonica," the accordion seems to find a place in almost anyone's music.

The first accordion was built by the German Friedrich Buschmann in 1822, who called it a Ziehharmonika (zieh meaning "pull"). Seven years later, in Vienna, Austria, Cyrill Damian began to mass-produce the instrument, and he dubbed it "accordion."

So how did this instrument come to be a central element in the Cajun music of Louisiana and the conjunto/Norteña music of Texas? The easy answer: Credit the German immigrants of the 19th century, who populated both of these areas in significant numbers. But like most matters of artistic inventiveness, the lines of influence are not always clearly defined. What we do know is when the accordion wound up on the Texas border in the hands of Narciso Martínez, and in Louisiana with Amédé Ardoin, the result was some of the best and influential sounds ever to emerge from the squeezebox.

...Anyone with a passion for Norteña or Cajun musicor for any traditional musicwill make the case that the development of the style cannot be credited to any one individual. By its very nature, traditional music styles develop generation to generation, with younger musicians deriving inspiration from those who came before. To label a given musician as "pivotal," requires that we do so within a very limited timeframe. The "pivot" keeps changing. Noteworthy Norteña and Cajun accordionists include the likes of Valerio Longoria, El Conjunto Bernal, Flaco Jiménez, Joe Falcon, Nathan Abshire and Iry Lejeune. Each made unique contributions, as do a number of contemporary Norteña and Cajun artists. That said, let's tip our hats to two highly influential players:

Narciso Martinez has been called the "father" of the modern conjunto for promoting the accordion and the bajo sexto and for his creativity as an accordionist. He had a rapid, highly ornamented styleusing a two-row accordion and emphasizing the treble end, while leaving the bass parts to his bajo sexto player, Santiago Almeida. His approach was unique in the 1930s, and his influence would be felt on other musicians in South Texas throughout the '30s, '40s and into the '50s. Born in Matamoros in 1911, across the river from the city of Brownsville, Texas, Martínez made his first recordings in1936 and was musically active for over 60 years. Known as El Hurrican del Valle (Hurricane of the Valley), he was a recipient of the National Heritage Award for his contributions to one of America's important ethnic traditions.

Amédé Ardoin was black, creole, French-speaking accordion player who had an enormous impact on Cajun music, and he is often credited with creating the modern Cajun style. Ardoin's innovative, syncopated style made him a favorite at both black and white dances. He grew up in the area around Eunice and Mamou. As a teenager, he played dances, carrying his accordion in a flour sack. In 1921 he teamed up with the great fiddler Dennis McGee, and the two recorded extensively in the early '30s. Many older Cajun musicians mention Amédé Ardoin as having a major influence on their music.
Marc Savoy points to Ardoin's great strength of hands and wrists as a contributing factor in his ability to play the button accordion. He had speed and dexterity. But more important, was Ardoin's "vision." Says Savoy: "The notes he decided to use, and the way he decided to use them, the spaces between themit put you on the edge of your chair. Simple in the way Frost's The Road Not Taken is simple."

http://www.honkytonks.org/showpages/accordion.htm