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In Representing the Good Neighbor, Carol A. Hess investigates the reception of Latin American art music in the US during the Pan American movement of the 1930s and 40s. An amalgamation of economic, political and cultural objectives, Pan Americanism was premised on the idea that the Americas were bound by geography, common interests, and a shared history, and stressed the psychological and spiritual bonds between the North and South. Threatened by European Fascism, the US government wholeheartedly embraced this movement as a way of recruiting Latin American countries as political partners. In a concerted effort to promote a sameness-embracing attitude between the US and Latin America, it established, in collaboration with entities such as the Pan American Union, exchange programs for US and Latin American composers as well as a series of contests, music education projects, and concerts dedicated to Latin American music. Through comparisons of the work of three of the most prominent Latin American composers of the period - Carlos Chavez, Heitor Villa-Lobos and Alberto Ginastera - Hess shows that the resulting explosion of Latin American music in the US during the 30s and 40s was accompanied by a widespread - though by no means universal - embracement by critics as an exemplar of cosmopolitan universalism. Aspects shared between the music of US composers and that of their neighbors to the south were often touted and applauded. Yet, by the end of the Cold War period, critics had reverted to viewing Latin American music through the lens of difference and exoticism. In comparing these radically different modes of reception, Hess uncovers how and why attitudes towards Latin American music shifted so dramatically during the middle of the twentieth century, and what this tells us about the ways in which the history of American music has been written. As the first book to examine in detail the critical reception of Latin American music in the United States, Representing the Good Neighbor promises to be a landmark in the field of American music studies, and will be essential reading for students and scholars of music in the US and Latin America during the twentieth-century. It will also appeal to historians studying US-Latin America relations, as well as general readers interested in the history of American music.
Enrique Granados (1867-1916) was one of the first modern Spanish composers to achieve international recognition. During a 1916 visit to the United States his opera Goyescas was premiered by the Metropolitan Opera and his symphonic poem, Dante, by the Chicago Symphony. Granados was also especially admired in Paris, where he knew Saint-Saens, d'Indy, and Faure. He had composed a remarkable body of work and was also at the height of his career as a concert pianist at his untimely death while a passenger on a torpedoed British ship. The biographical study, the first in English, draws on primary sources in English, Spanish, French, Catalan, and other languages. This material is carefully documented in the extensive annotated bibliography along with contemporaneous and recent analytical studies and other sources. Granados's oeuvre presents cataloging problems due to his habit of reworking pieces, long-delayed publication, and arbitrary opus numbers. In the Works and Performances section, however, every effort has been made to offer publication dates, manuscript locations, and information on premieres. Representative arrangements of his works by other composers are also given. An appendix classifies the works by scoring. A selective discography is also provided, and all parts of the volume are fully cross-referenced and indexed. Granados is placed in the context of the international artistic scene at the turn of the century, and a chronology notes related events.
The work of composer Manuel de Falla (1876-1946) ranges from
late-romantic salon pieces to evocations of flamenco to stark
neoclassicism. Yet his music has met with conflicting reactions,
depending on the audience. In his native Spain, Falla is considered
the most innovative composer of the first half of the twentieth
century. Likewise, in the United States, Falla enjoyed a strong
following in the concert hall. But many of his works, especially
some of the "colorful" or "exotic" dances from The Three-Cornered
Hat and El Amor Brujo, were taken up during the Latin music craze
of the 1930s and 40s and appeared in everything from jazz and pop
arrangements to MGM musicals. Similarly enigmatic are the details
of Falla's life. He never sustained a lasting, intimate
relationship with a woman, yet he created compelling female roles
for the lyric stage. Although he became incensed when publishers
altered his music, he more than once tinkered with Chopin and
Debussy. Despite insisting that he was apolitical, Falla ultimately
took sides in the Spanish Civil War, initially allying himself
rather half-heartedly with Franco's Nationalists but later
rejecting the honors they proffered. All his life, his rigorous
brand of Roman Catholicism brought him both solace and agony in his
quest for spiritual and artistic perfection.
Experiencing Latin American Music draws on human experience as a point of departure for musical understanding. Students explore broad topics-identity, the body, religion, and more-and relate these to Latin American musics while refining their understanding of musical concepts and cultural-historical contexts. With its brisk and engaging writing, this volume covers nearly fifty genres and provides both students and instructors with online access to audio tracks and listening guides. A detailed instructor's packet contains sample quizzes, clicker questions, and creative, classroom-tested assignments designed to encourage critical thinking and spark the imagination. Remarkably flexible, this innovative textbook empowers students from a variety of disciplines to study a subject that is increasingly relevant in today's diverse society. In addition to the instructor's packet, online resources for students include: customized Spotify playlist online listening guides audio sound links to reinforce musical concepts stimulating activities for individual and group work
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.
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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