Oxford University Press, USA
Representing the Good Neighbor: Music, Difference, and the Pan American Dream
Representing the Good Neighbor: Music, Difference, and the Pan American Dream
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Winner of the 2015 Robert M. Stevenson Award from the American Musicological Society In Representing the Good Neighbor: Music, Difference, and the Pan American Dream, Carol A. Hess investigates the reception of Latin American art music in the US during the twentieth century. Hers is the first study to probe Latin American art music in relation to Pan Americanism, or the idea that
the American nations are bound by common aspirations. Under the Good Neighbor policy, crafted by the administration of President Franklin D. Roosevelt to cement hemispheric solidarity amid fears of European fascism, Latin American art music flourished and US critics applauded it as universal.
During the Cold War, however, this repertory assumed a very different status. While the United States supported Latin American military dictators to assuage fears that communism would overwhelm the hemisphere, musical works were increasingly objectified through essentializing adjectives such as
exotic, distinctive, or national--through the filter of difference. Hess explores this phenomenon by tracking the reception in the United States of the so-called Big Three: Carlos Chávez (Mexico), Heitor Villa-Lobos (Brazil), and Alberto Ginastera (Argentina). She also evaluates several important US composers and critics-Copland, Thomson, Rosenfeld, and others-in
relation to Pan Americanism, and offers a new interpretation of a work about Latin America by US composer Fredric Rzewski, 36 Variations on The People United Will Never Be Defeated! Whether discussing works performed in modern music concerts of the 1920s, at the 1939 World's Fair, the inauguration
of the New York State Theater in 1966, or for the US Bicentennial, Hess illuminates ways in which North-South relations continue to inform our understanding of Latin American art music today. 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.
Author: Carol A. Hess
Publisher: Oxford University Press, USA
Published: 10/23/2013
Pages: 336
Binding Type: Hardcover
Weight: 1.35lbs
Size: 9.30h x 6.30w x 1.10d
ISBN: 9780199919994
Review Citation(s):
Choice 04/01/2014
the American nations are bound by common aspirations. Under the Good Neighbor policy, crafted by the administration of President Franklin D. Roosevelt to cement hemispheric solidarity amid fears of European fascism, Latin American art music flourished and US critics applauded it as universal.
During the Cold War, however, this repertory assumed a very different status. While the United States supported Latin American military dictators to assuage fears that communism would overwhelm the hemisphere, musical works were increasingly objectified through essentializing adjectives such as
exotic, distinctive, or national--through the filter of difference. Hess explores this phenomenon by tracking the reception in the United States of the so-called Big Three: Carlos Chávez (Mexico), Heitor Villa-Lobos (Brazil), and Alberto Ginastera (Argentina). She also evaluates several important US composers and critics-Copland, Thomson, Rosenfeld, and others-in
relation to Pan Americanism, and offers a new interpretation of a work about Latin America by US composer Fredric Rzewski, 36 Variations on The People United Will Never Be Defeated! Whether discussing works performed in modern music concerts of the 1920s, at the 1939 World's Fair, the inauguration
of the New York State Theater in 1966, or for the US Bicentennial, Hess illuminates ways in which North-South relations continue to inform our understanding of Latin American art music today. 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.
Author: Carol A. Hess
Publisher: Oxford University Press, USA
Published: 10/23/2013
Pages: 336
Binding Type: Hardcover
Weight: 1.35lbs
Size: 9.30h x 6.30w x 1.10d
ISBN: 9780199919994
Review Citation(s):
Choice 04/01/2014
About the Author
Carol A. Hess is Professor of Musicology at University of California, Davis. She is author of Manuel de Falla and Modernism in Spain, 1898-1936 (Chicago, 2001, winner of an ASCAP-Deems Taylor Award and the Robert M. Stevenson prize for outstanding scholarship in Iberian music) and Sacred Passions:
The Life and Music of Manuel de Falla (Oxford 2004).
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