It is tolerably well known that Gérard Grisey's first instrument was the accordion, but little has been written about the influence the pioneering spectral composer's main instrument had on his compositional language. The decade of the 1960s was marked by the centrality of the accordion and saw the completion of his first youthful compositional essays, most of which were scored for the accordion. It was also the period in which he studied at a school devoted to the accordion, in Trossingen. Later, when studying with Messiaen in Paris, Grisey distanced himself from the accordion, writing in 1969 that ‘I am not playing accordion anymore. My way is another one.’ After establishing the chronology of Grisey's engagement with the accordion, this article assesses the extent to which the spectral composer's training on the accordion left traces in his mature compositions and raises questions about the standard historiographies (and geographies) of French spectral music.

中文翻译：

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Gérard Grisey，手风琴家

众所周知，Gérard Grisey 的第一件乐器是手风琴，但关于这位先驱光谱作曲家的主要乐器对其作曲语言的影响却鲜有报道。1960 年代的十年以手风琴的中心地位为标志，他完成了第一部年轻的作曲文章，其中大部分是为手风琴配乐的。这也是他在 Trossingen 的一所专注于手风琴的学校学习的时期。后来，在巴黎跟随 Messiaen 学习时，Grisey 与手风琴保持距离，并在 1969 年写道：“我不再演奏手风琴了。我的方式是另一种方式。在确定了 Grisey 与手风琴接触的年表之后，本文评估了光谱作曲家在多大程度上