Between 1941 and 1963, Aaron Copland made four government-sponsored
tours of Latin America that drew extensive attention at home and
abroad. Interviews with eyewitnesses, previously untapped Latin
American press accounts, and Copland’s diaries inform Carol A.
Hess’s in-depth examination of the composer’s approach to
cultural diplomacy. As Hess shows, Copland’s tours facilitated an
exchange of music and ideas with Latin American composers while
capturing the tenor of United States diplomatic efforts at various
points in history. In Latin America, Copland’s introduced works
by U.S. composers (including himself) through lectures, radio
broadcasts, live performance, and conversations. Back at home, he
used his celebrity to draw attention to regional composers he
admired. Hess’s focus on Latin America’s reception of Copland
provides a variety of outside perspectives on the composer and his
mission. She also teases out the broader meanings behind reviews of
Copland and examines his critics in the context of their
backgrounds, training, aesthetics, and politics.
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