Representing the Good Neighbor
Music, Difference, and the Pan American Dream
Carol A. Hess
Table of Contents
List of musical examples
List of figures
Chapter One. Introduction
I. Difference and History in the Americas
II. The Narrative
Chapter Two: The Roots of Pan Americanism
I. Historical Premises
II. Pan Americanism and Music: An Overview
Chapter Three: Carlos Chávez and Ur-Classicism
II. Absolute Mexican Music: "True Classicism" and Universalism in the Americas
Chapter Four: Carlos Chávez's H.P.: Dialectical Indigenism, Mestizaje, and the Politics of Sameness
I. To "Suggest Objectively the Life of All America": Chávez and Dialectical Indigenism.
II. "Find Me a Primitive Man": Premiere and Reception
Chapter Five: Brazilian Modernism and the Making of "American Rhythm": Villa-Lobos at the 1939 World's Fair
I. From "Hallucinated City" To Democracity: Villa-Lobos, the Many Faces of Brazilian Modernism, and the Good Neighbor
II. Caliban Unbound: Villa-Lobos and Unsublimated Primitivism
Chapter Six: The Golden Age: Pan Americanist Culture, War, and the Triumph of Universalism
I. Pan Americanist Culture and Music in the United States
II. Folklore Cults and the "League of Minor Musical Nations"
III. Nationalism: The "Greatest Foe"
IV. "The Brazilian Oklahoma! and the Memory of Universalism
Chapter Seven: Alberto Ginastera's Bomarzo: Sublimation and the Annihilation of Difference
I. Ginastera in the United States: Becoming a "Musical McNamara"
II. Bomarzo: Sublimation and the "Strength of the Repressed Urge"
III. Censorship and the Limits of Aleatory
Chapter Eight: Memory, Music, and the Latin American Cold War: Frederic Rzewksi's Variations on 'The People United Will Never Be Defeated!
I. Nueva Canción, Música Nacional, and the Cold War
II. "The People United Will Never Be Defeated!" and the Rhetoric of Memory
Chapter Nine: Epilogue. Utopia and Pan Americanism's Legacy