By Carol A. Hess
In Representing the nice Neighbor: track, distinction, and the Pan American Dream, Carol A. Hess investigates the reception of Latin American paintings song within the US throughout the 20th century. Hers is the 1st examine to probe Latin American artwork tune when it comes to Pan Americanism, or the concept the yank international locations are certain by means of universal aspirations. less than the great Neighbor coverage, crafted through the management of President Franklin D. Roosevelt to cement hemispheric team spirit amid fears of ecu fascism, Latin American paintings song flourished and US critics applauded it as "universal." throughout the chilly warfare, in spite of the fact that, this repertory assumed a truly assorted prestige. whereas the us supported Latin American army dictators to soothe fears that communism could crush the hemisphere, musical works have been more and more objectified via essentializing adjectives equivalent to "exotic," distinctive," or "national"--through the filter out of distinction.
Hess explores this phenomenon by means of monitoring the reception within the usa of the so-called tremendous 3: Carlos Chávez (Mexico), Heitor Villa-Lobos (Brazil), and Alberto Ginastera (Argentina). She additionally evaluates numerous very important US composers and critics-Copland, Thomson, Rosenfeld, and others-in relation to Pan Americanism, and provides a brand new interpretation of a piece approximately Latin the United States by means of US composer Fredric Rzewski, 36 diversifications on "The humans United seriously isn't Defeated!" no matter if discussing works played in smooth tune concert events of the Nineteen Twenties, on the 1939 World's reasonable, the inauguration of the recent York country Theater in 1966, or for the united states Bicentennial, Hess illuminates ways that North-South kin proceed to notify our figuring out of Latin American paintings tune this present day. because the first publication to ascertain intimately the severe reception of Latin American tune within the usa, Representing the nice Neighbor can provide to be a landmark within the box of yankee song experiences, and may be crucial analyzing for college students and students of tune within the US and Latin the US in the course of the twentieth-century. it's going to additionally entice historians learning US-Latin the US family, in addition to normal readers drawn to the background of yank track.
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Additional resources for Representing the Good Neighbor: Music, Difference, and the Pan American Dream
S. 18 Another result of the war was the annexation and direct rule of the Philippines by the United States, along with the ceding of Puerto Rico and Guam. S. power. 19 President Chester A. Arthur investigated possibilities for trade in Latin America by sending to various countries a commission on which the Chicago journalist William Eleroy Curtis sat. 21 Most relevant here are the Legend’s historical imbalances. 22 As for Curtis, he was chosen to lead the Bureau of the American Republics, despite his antipathy toward his southern neighbors.
S. ”78 The foundations for musical Pan Americanism were thus rooted in a complex history. ”79 Among the many Pan Americanist musical ideologies discussed in this book, the notion of an American art music separate from that of Europe remains a central although controversial principle. The concept was shaped by a variety of forces. Many art music composers responded to commercial Pan Americanism, influenced by Latin ballroom dances, Tin Pan Alley, and the music of a spate of frothy Hollywood movies during the Good Neighbor period, with their catchy, percussion-heavy scores.
Yet as historians we cannot avoid asking why Anglocentric models prevailed as long as they did, nor why some scholars still cling to them. In the snapshot that opens chapter 1, Ginastera and Chase reflect on these north-south differences apropos the naming of “America,” a polite exchange I relate to the more tumultuous history of north-south relations. S. political and commercial interventionism in Latin America. Just as incensed as Martí was the Uruguayan writer José Enrique Rodó, whose widely read essay Ariel of 1900 compared the muscle and materialism of the United States to Caliban, the formless monster of Shakespeare’s Tempest.
Representing the Good Neighbor: Music, Difference, and the Pan American Dream by Carol A. Hess