Jump to ContentJump to Main Navigation
Representing the Good NeighborMusic, Difference, and the Pan American Dream$

Carol A. Hess

Print publication date: 2013

Print ISBN-13: 9780199919994

Published to Oxford Scholarship Online: January 2014

DOI: 10.1093/acprof:oso/9780199919994.001.0001

Show Summary Details
Page of

PRINTED FROM OXFORD SCHOLARSHIP ONLINE (www.oxfordscholarship.com). (c) Copyright Oxford University Press, 2017. All Rights Reserved. Under the terms of the licence agreement, an individual user may print out a PDF of a single chapter of a monograph in OSO for personal use (for details see http://www.oxfordscholarship.com/page/privacy-policy). Subscriber: null; date: 27 February 2017

(p.245) Bibliography

(p.245) Bibliography

Source:
Representing the Good Neighbor
Publisher:
Oxford University Press

Bibliography references:

Abellán, Manuel L. Censura y creación literaria en España (1939–1976). Badalona: Ediciones Península, 1980.

Abrams Ansari, Emily. “‘Masters of the President’s Music’: Cold War Composers and the United States Government.” Ph.D. diss., Harvard University, 2009.

Abresch, James. “Events in the World of Music.” New York Times, January 28, 1945.

Adorno, Theodor. Aesthetic Theory. Trans. C. Lenhardt. London: Routledge & Kegan Paul, 1984.

Adorno, Theodor. Mahler: A Musical Physiognomy. Trans. Edmund Jephcott. Chicago: University of Chicago Press, 1992.

Adorno, Theodor. Philosophy of Modern Music. Trans. Anne G. Mitchell and Wesley V. Blomster. New York: Seabury Press, 1973.

Adorno, Theodor. “The Radio Symphony.” 1941. In Richard Leppert, ed., Essays on Music: Theodor W. Adorno. Trans. Susan H. Gillespie. Berkeley: University of California Press, 2002, 251–70.

Agawu, Kofi. Representing African Music: Postcolonial Notes, Queries, Positions. New York: Routledge, 2003.

Agea, Francisco, ed. 21 años de la Orquesta Sinfónica de México, 1928–1948. Mexico City: OSM, 1948.

Albanese, Catherine L. Sons of the Fathers: The Civil Religion of the American Revolution. Philadelphia: Temple University Press, 1976.

Albright, Daniel, ed. Modernism and Music: An Anthology of Sources. Chicago: University of Chicago Press, 2004.

“An American and Inter-American Anniversary.” Buenos Aires Herald, July 4, 1967.

Anderson, Dwight. “Ginastera Ranked High for His Musical Creativeness.” Courier-Journal (Louisville, Ky.), February 3, 1957.

Anderson, Dwight. “Louisville Orchestra’s Opening Concert Called Best Yet.” Courier-Journal (Louisville, Ky.), October 21, 1954.

Andrade, Mário de. Ensaio sôbre a música brasileira. São Paulo: Livraria Martins Editora, 1962.

Andrade, Mário de. Hallucinated City. Trans. Jack E. Tomlins. Kingsport, Tenn.: Vanderbilt University Press, 1968.

Ansermet, Ernest. “Los problemas del compositor American: El problema formal.” Sur 2 (Fall 1931): 170–80.

Ansermet, Ernest. “Los problemas del compositor americano: El compositor y su tierra.” Sur 1 (Summer 1931): 118–28.

Antheil, George. Bad Boy of Music. Garden City, N.Y.: Doubleday, Doran, 1945.

Aparicio, Frances R. “Ethnifying Rhythms, Feminizing Cultures.” In Ronald Radano and Philip V. Bohlman, eds., Music and the Racial Imagination. Chicago: University of Chicago Press, 2000, 95–112.

Aparicio, Frances R., and Susana Chávez-Silverman. Tropicalizations: Transcultural Representations of Latinidad. Hanover, N.H.: University Press of New England, 1997.

(p.246) Apel, Willi. “Nationalism.” In Harvard Dictionary of Music. 2nd ed., revised and enlarged. Cambridge: Belknap Press of Harvard University Press, 1969, 564–65.

Appelbaum, Stanley. The New York World’s Fair 1939/1940. New York: Dover, 1977.

Appleby, David P. Heitor Villa-Lobos: A Life (1887–1959). Lanham, Md.: Scarecrow Press, 2002.

Ardévol, José. Introducción a Cuba: La Música. Havana: Instituto del Libro, 1969.

“Argentina.” Time, July 8, 1967, 24.

“Argentina: Prohibida para adolescentes.” Primera Plana 5, no. 243 (1967): 22–28.

Arizaga, Rodolfo. Juan José Castro. Buenos Aires: Editoriales Culturales Argentinas, 1963.

Asplund, Christian. “Frederic Rzewski and Spontaneous Political Music.” Perspectives of New Music 33, nos. 1/2 (1995): 418–41.

“At Bomarzo World Premiere.” Washington Post, May 22, 1967.

Atkinson, Brooks. “At the Theatre: Heitor Villa-Lobos, Brazilian Composer, Has Written the Musical Score for Magdalena.” New York Times, September 21, 1948.

Babbitt, Milton. “Who Cares if You Listen?” High Fidelity 8, no. 2 (1958): 38–40, 126–27.

Bagar, Robert. C. “Boult Conducts N.B.C. Symphony Orchestra.” New York World-Telegram, May 16, 1938.

Bagar, Robert. C. “City Symphony Concert.” New York-World Telegram, February 13, 1945.

Bagar, Robert. C. “Music: Villa-Lobos Conducts Own Two Brilliant Choros.” New York World-Telegram, February 9, 1945.

Baim, Jo. Tango: Creation of a Cultural Icon. Bloomington: Indiana University Press, 2007.

Bakota, Carlos Steven. “Getúlio Vargas and the Estado Novo: An Inquiry into Ideology and Opportunism.” Latin American Research Review 14, no. 1 (1979): 205–10.

“Bali Ha’i-by-the-River.” Time, June 15, 1953, 43.

Bannerman, Henrietta. “A Dance of Transition: Martha Graham’s Heriodiade (1944).” Dance Research 24, no. 1 (2006): 1–20.

Barnes, Howard. “The Theaters: Magdalena.” New York Herald Tribune, n.d. New York Public Library clippings file.

Baqueiro Fóster, Gerónimo. “El Huapango.” Revista Musical Mexicana 8 (April 21, 1942): 174–83.

Barreda Laos, Felipe. Hispano-América en guerra? Buenos Aires: Linari, 1941.

Bary, Leslie. “Oswald de Andrade’s Cannibalist Manifesto.” Latin American Literary Review 19, no. 38 (1991): 35–47.

Bass, Jacquelynn. “The Epic of American Civilization: The Mural at Dartmouth College (1932–34).” In Renato González Mello and Diane Miliotes, eds., José Clemente Orozco in the United States, 1927–1934. Hanover, N.H.: Hood Museum of Art, 2002, 142–85.

Beal, Amy. New Music, New Allies: American Experimental Music in West Germany from the Zero Hour to Reunification. Berkeley: University of California Press, 2006.

Beals, Carleton. The Coming Struggle for Latin America. New York: Halcyon House, 1938.

Beasley-Murray, Jon. Translator’s introduction to Beatriz Sarlo, Scenes from Postmodern Life. Cultural Studies of the Americas, vol. 7. Minneapolis: University of Minnesota Press, 2001.

Beckerman, Michael ed. Dvorak and His World. Princeton: Princeton University Press, 1993.

Beckett, Henry. “In the World of Music: Gershwin Program Brings Record Audience to Stadium Concert by Philharmonic-Symphony Orchestra.” New York Evening Post, August 17, 1932.

Béhague, Gerard. “Ecuadorian, Peruvian, and Brazilian Ethnomusicology: A General View.” Latin American Music Review 3, no. 1 (1982): 17–35.

(p.247) Béhague, Gerard. Heitor Villa-Lobos: The Search for Brazil’s Musical Soul. Austin: Institute of Latin American Studies, University of Texas at Austin, 1994.

Béhague, Gerard. Music in Latin America: An Introduction. Englewood Cliffs, N.J.: Prentice Hall, 1978.

Beirfield, Abby. “Strengthened Orchestra Displays Skill at Opening.” Louisville (Ky.) Times, October 21, 1954.

Belnap, Jeffrey “Diego Rivera’s Greater America: Pan-American Patronage, Indigenism, and H.P.” Cultural Critique 63 (2008): 61–98.

Bemis, Samuel Flagg. The Latin American Policy of the United States. New York: Harcourt, Brace & World, 1943.

Benedict, Ruth. Patterns of Culture. New York: Houghton Mifflin, 1934.

Benjamin, Walter. Reflections: Essays, Aphorisms, Autobiographical Writings. Ed. Peter Demetz. Trans. Edmund Jephcott. New York: Harcourt Brace Jovanovich, 1978.

Bercovitch, Sacvan. The Rites of Assent: Transformations in the Symbolic Construction of America. New York: Routledge, 1993.

Berger, Arthur. Aaron Copland. New York: Oxford University Press, 1953.

Berger, Arthur. “Heitor Villa-Lobos.” Harper’s Bazaar 80, no. 5 (1946): 115, 222–24.

Berger, Karol. “Time’s Arrow and the Advent of Musical Modernity.” In Karol Berger and Anthony Newcomb, eds., Music and the Aesthetics of Modernity. Isham Library Papers 6, Harvard Publications in Music 21. Cambridge: Harvard University Press, 2005, 3–22.

Berger, Mark T. Under Northern Eyes: Latin American Studies and U.S. Hegemony in the Americas, 1898–1990. Bloomington: Indiana University Press, 1995.

Bermann, Karl. Under the Big Stick: Nicaragua and the United States Since 1848. Boston: South End Press, 1986.

Bernal, Martin. Black Athena: The Afroasiatic Roots of Classical Civilization. Vol. 1: The Fabrication of Ancient Greece, 1785–1985. 3 vols. New Brunswick, N.J.: Rutgers University Press, 1987.

Bernstein, Leonard. Findings. New York: Simon and Schuster, 1982.

Bernstein, Leonard. “Jazz in Serious Music.” In The Infinite Variety of Music. New York: Simon and Schuster, 1962.

Bernstein, Leonard. Young People’s Concerts. New York: Sony Classical Video Music Education, 1993, vol. 13.

Beveridge, David. Rethinking Dvorak: Views from Five Countries. Oxford: Clarendon Press, 1996.

Bhabha, Homi. “Of Mimicry and Man: The Ambivalence of Colonial Discourse.” In Frederick Cooper and Ann Laura Stoler, eds., Tensions of Empire: Colonial Cultures in a Bourgeois World. Berkeley: University of California Press, 1997, 152–60.

Bianchi, Soledad, Luis Bocaz, and Carlos Orellana. “Discusión sobre la música chilena.” Araucaria de Chile 2 (1978): 111–73.

Bianculli, David. Dangerously Funny: The Uncensored Story of the Smothers Brothers Comedy Hour. New York: Simon & Schuster, 2010.

“Bicentennial Bonanza.” Time, March 24, 1975, 69.

Biglia, Juan Carlos, and David Lifschitz. “Bomarzo: La prohibición.” Revista Argentina de Musicología 3, no. 4 (2002–3): 235–87.

Blackwood, Alan. Music of the World. Englewood Cliffs, N.J.: Prentice-Hall, 1991.

Blake, David. “Eisler, Hanns.” Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/grove/music/08667 (accessed October 11, 2009).

(p.248) Blanco Aguinagua, Carlos. “On Modernism from the Periphery.” In Anthony L. Geist and José B. Monleón, eds., Modernism and Its Margins: Reinscribing Cultural Modernity from Spain and Latin America. New York: Garland, 1999, 3–16.

Blanksten, George I. Perón’s Argentina. Chicago: University of Chicago Press, 1953.

Blitzstein, Marc. “Composers as Lecturers and in Concerts.” Modern Music 13, no. 1 (1935): 47–50.

Blitzstein, Marc. “Forecast and Review: Music and Theatre—1932.” Modern Music 9, no. 4 (1932): 164–66.

Block, Geoffrey. “Bernstein’s Senior Thesis at Harvard: The Roots of a Lifelong Search to Discover an American Identity.” College Music Symposium 48 (2008): 52–68.

Boas, Franz. The Mind of Primitive Man. New York: Macmillan, 1911.

Bohm, Jerome D. [J.D.B.] “Boston Symphony Heard Again in Carnegie Hall: Aaron Copland’s Mexican Piece Warmly Received.” New York Herald Tribune, November 20, 1938.

Bohm, Jerome D. [J.D.B.] “Philharmonic Heard under Brazil Auspices.” New York Herald Tribune, May 10, 1939.

Bolton, Herbert Eugene. “Confessions of a Wayward Professor.” Americas 6, no. 3 (1950): 359–62.

Bolton, Herbert Eugene, and Thomas Maitland Marshall. The Colonization of North America, 1492–1783. New York: Macmillan, 1920.

“Bomarzo, de A. Ginastera Fue Ovacionada en Washington.” El Mundo, May 21, 1967.

Bomarzo Premiere to Aid City Center.” New York Times, May 3, 1968.

Bomarzo Scores in Washington Premiere.” Buenos Aires Herald, May 22, 1967.

Bomarzo Spell Gripping.” Washington Evening Star, May 20, 1967.

Boorstein, Edward. Allende’s Chile: An Inside View. New York: International Publishers, 1977.

Borges, Jorge Luis. The Book of Sand (El Libro de arena). Trans. Norman Thomas Di Giovanni. New York: E. P. Dutton, 1977.

Born, Georgina, and David Hesmondhalgh, eds. Western Music and Its Others: Difference, Representation, and Appropriation in Music. Berkeley: University of California Press, 2000.

Bossom, Alfred. Building to the Sky: The Romance of the Skyscraper. London: Studio, 1934.

Bourdieu, Pierre. Distinction: A Social Critique of the Judgement of Taste. Trans. Richard Nice. Cambridge: Harvard University Press, 1984.

Bowles, Paul. “On Mexico’s Popular Music.” Modern Music 28, no. 4 (1941): 225–30.

Bowles, Paul. “Villa-Lobos Directs Own Works in Concert with City Symphony.” New York Herald Tribune, February 14, 1945.

Bradley, James. The Imperial Cruise: A Secret History of Empire and War. Boston: Little, Brown, 2009.

Brecht, Bertolt. Brecht On Theatre: The Development of an Aesthetic. Trans. John Willet. London: Methuen, 1978.

Brenner, Anita. Idols behind Altars. New York: Harcourt Brace, 1929.

Brodbeck, David. Brahms/Symphony no. 1. Cambridge: Cambridge University Press, 1997.

Brody, Martin. “Founding Sons: Copland, Sessions, and Berger on Genealogy and Hybridity.” In Carol J. Oja and Judith Tick, eds., Aaron Copland and His World. Princeton: Princeton University Press, 2005, 15–43.

Brody, Martin. “‘Music for the Masses’: Milton Babbitt’s Cold War Music Theory.” Musical Quarterly 77, no. 2 (1993): 161–92.

Brooks, Van Wyck. “On Creating a Usable Past.” Dial, April 11, 1918, 337–41.

(p.249) Brown, Julie, ed. Western Music and Race. Cambridge: Cambridge University Press, 2007.

Broyles, Michael, and Denise von Glahn. Leo Ornstein: Modernist Dilemmas, Personal Choices. Bloomington: Indiana University Press, 2007.

Buch, Esteban. The Bomarzo Affair: Ópera, perversión y dictadura. Buenos Aires: Adriana Hidalgo editora, 2003.

Buch, Esteban. “Ginastera y Nono: Encuentros y variantes.” Revista del Instituto Superior de Música 9 (2002): 62–85.

Budasz, Rogério. “Of Cannibals and the Recycling of Otherness.” Music and Letters 87, no. 1 (2005): 1–15.

Bukofzer, Manfred. “The New Nationalism.” Modern Music 23, no. 4 (1946): 243–47.

Burge, David. “About Pianists.” Clavier 27, no. 1 (1988): 46–47.

Burkholder, J. Peter. All Made of Tunes: Charles Ives and the Uses of Musical Borrowing. New Haven: Yale University Press, 1995.

Burkholder, J. Peter. “Music of the Americas and Historical Narratives.” American Music 27, no. 4 (2009): 399–423.

Burkholder, J. Peter. “Quotation.” Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/grove/music/52854 (accessed July 12, 2010).

Burkholder, J. Peter, Donald Jay Grout, and Claude Palisca. A History of Western Music, 8th ed. New York: Norton, 2010.

Burns, E. Bradford A History of Brazil. 3rd ed. New York: Columbia University Press, 1993.

Burns, E. Bradford. Latin America: Conflict and Creation. A Historical Reader. Englewood Cliffs, N.J.: Prentice Hall, 1993.

Burton-Carvajal, Julianne. “Don (Juanito) Duck and the Imperial-Patriarchal Unconscious: Disney Studios, the Good Neighbor Policy, and the Packaging of Latin America.” In Andrew Parker, Mary Russo, Doris Sommer, and Patricia Yaeger, eds., Nationalism and Sexualities. New York: Routledge, 1992, 21–41.

Burton-Carvajal, Julianne. “‘Surprise Package’: Looking Southward with Disney.” In Eric Smoodin, ed., Disney Discourse: Producing the Magic Kingdom. New York: Routledge, 1994, 131–47.

Butler, Henry. “Concert Best, Week Is Quiet.” Indianapolis Times, January 24, 1954.

Butler, Henry. “Henry Butler Says.” Indianapolis Times, January 25, 1954.

Butterworth, Neil. The Music of Aaron Copland. London: Toccata, 1985.

Bynner, Witter. “While the Train Pauses at Torreon [sic].” Laughing Horse, no. 14 (Autumn 1927): 1–6.

Cage, John. “Chávez and the Chicago Drought.” Modern Music 19, no. 2 (1942): 185–86.

Calinescu, Matei. Five Faces of Modernity. Durham, N.C.: Duke University Press, 1987.

Campbell, Jennifer. “Shaping Solidarity: Music, Diplomacy, and Inter-American Relations, 1936–1946.” Ph.D. diss., University of Connecticut, 2010.

Campos, Rubén M. El folklore y la música Mexicana. Mexico City: Publicaciones de la Secretaria de Educación Pública, 1928.

Campos Hazan, Marcelo. “Raça, Nação e Jose Mauricio Nunes Garcia.” Resonancias 24 (2009): 23–40.

Candelaria, Lorenzo, and Daniel Kingman. American Music: A Panorama. 4th ed. New York: Schirmer Books, 2012.

Caracas Garcia, Thomas George. “American Views of Brazilian Musical Culture: Villa-Lobos’s Magdalena and Brazilian Popular Music.” Journal of Popular Culture 37, no. 4 (2004): 634–47.

Carballo, Erick. “De la Pampa al cielo: The Development of Tonality in the Compositional Language of Alberto Ginastera.” Ph.D. diss., Indiana University, 2006.

(p.250) Cardoso, Fernando Enrique, and Enzo Faletto. Dependency and Development in Latin America. Dependencia y desarrollo en América Latina (1971), expanded and emended. Trans. Marjory Mattingly Urquidi. Berkeley: University of California Press, 1979.

Carmona, Gloria. Carlos Chávez, 1899–1978: Iconografía. Mexico City: Consejo Nacional Para la Cultura y las Artes, Instituto Nacional de Bellas Artes, 1994.

Carmona, Gloria, ed. Epistolario selecto de Carlos Chávez. Mexico City: Fondo de Cultura Económica, 1989.

Carnegie, Andrew. “Distant Possessions: The Parting of Ways.” North American Review 167, no. 501 (1898): 239–49.

Carpentier, Alejo. “El Ángel de las Maracas.” In Obras Completas de Alejo Carpentier, vol. 12. Madrid: Siglo Veintiuno Editores, 1987, 185–92.

Carpentier, Alejo. Ese músico que llevo dentro. Madrid: Alianza Editorial, 1987.

Carr, Raymond. Spain: 1808–1975. 2nd ed. Oxford: Clarendon Press, 1982.

Carter, Elliott. “Forecast and Review: O Fair World of Music!” Modern Music 16, no. 4 (1939): 238–43.

Carter, Elliott. “Late Winter, New York, 1937.” Modern Music, March–April 1937, 147–54.

Cartwright, Lisa, and Brian Goldfarb. “Cultural Contagion: On Disney’s Health Education Films for Latin America.” In Eric Smoodin, ed., Disney Discourse: Producing the Magic Kingdom. New York: Routledge, 1994, 169–80.

Casey, Michael. Che’s Afterlife: The Legacy of an Image. New York: Vintage Books, 2009.

Castro-Klarén, Sara. “A Genealogy for the ‘Manifesto antropófago,’ or the Struggle between Socrates and the Caraïbe.” Nepantla: Views from South 1, no. 2 (2000): 295–322.

Catalyne, Alice Ray. “Manuel de Zumaya (ca. 1678–1756): Mexican Composer for Church and Theater.” In Burton L. Karson, ed., Festival Essays for Pauline Alderman. Provo, Utah: Brigham Young University Press, 1976, 101–24.

Cavalcanti, Lauro. When Brazil Was Modern: Guide to Architecture 1928–1960. Trans. Jon Tolman. New York: Princeton Architectural Press, 2003.

C.H. “Gareth Anderson Heard.” New York Times, April 12, 1948.

Charlot, Jean. The Mexican Mural Renaissance, 1920–1925. New Haven: Yale University Press, 1963.

“Charlot’s Frescoes Shown.” New York Times, May 8, 1931.

Chase, Gilbert. “Alberto Ginastera: Argentine Composer.” Musical Quarterly 43, no. 4 (1957): 439–60.

Chase, Gilbert. “Alberto Ginastera: Portrait of an Argentine Composer.” Tempo 44 (1957): 11–17.

Chase, Gilbert. America’s Music from the Pilgrims to the Present. New York: McGraw-Hill, 1955.

Chase, Gilbert. “Caracas Host to Second Latin American Festival.” Musical America 77, no. 6 (1957): 11–12.

Chase, Gilbert. “Creative Trends in Latin American Music: II.” Tempo 50 (1959): 25–28.

Chase, Gilbert. “Current Musical Trends in South America.” Musical America 77, no. 3 (1957): 31, 176–79.

Chase, Gilbert. “The Foundations of Musical Culture in Latin America.” In Intellectual Trends in Latin America. Papers Read at a Conference on Intellectual Trends in Latin America Sponsored by Institute of Latin-American Studies of the University of Texas, Austin, April 13–14, 1945. Austin: University of Texas Press, 1945, 35–43.

Chase, Gilbert. A Guide to the Music of Latin America. New York: AMS Press, 1942.

Chase, Gilbert. A Guide to the Music of Latin America. 2nd ed., revised and enlarged. Washington, D.C.: Pan American Union and Library of Congress, 1972.

Chase, Gilbert. “The Mail Pouch: Twelve Tones Fall on Deaf Ears.” New York Times, April 13, 1958.

(p.251) Chase, Gilbert. “Music of the New World.” Music Educators Journal 30, no. 2 (1943): 17–18, 49.

Chase, Gilbert. “New World Music: Inter-American Festival in Washington. D.C.” Americas 10, no. 7 (1958): 10–13.

Chase, Gilbert. “Recent Books: Americanismo Musical.” Modern Music 20, no. 3 (1943): 214–15.

Chase, Stuart. Mexico: A Study of Two Americas. 1931. New York: Macmillan, 1933.

Chávez, Carlos. “Antecedents and Consequents.” Eolus 6, no. 1 (1927): 12–15.

Chávez, Carlos. “El dodecafonismo en México.” Lecture text. Mexico City: Memoria de El Colegio Nacional, 1954.

Chávez, Carlos. “Revolt in Mexico.” Modern Music 13, no. 3 (1936): 35–40.

Chávez, Carlos. “Technique and Inner Form.” Modern Music 5, no. 4 (1928): 28–31.

Chávez, Carlos. “The Two Persons.” Musical Quarterly 15, no. 2 (1929): 153–59.

Chavkin, Samuel. The Murder of Chile: Eyewitness Accounts of the Coup, the Terror, and the Resistance Today. New York: Everest House, 1982.

Chevalier, Lucien. “Oeuvres de Villa-Lobos.” Le Monde Musical 38, no. 12 (1927): 450.

Cheyfitz, Eric. The Poetics of Imperialism: Translation and Colonization from The Tempest to Tarzan. New York: Oxford University Press, 1991.

Chmaj, Betty E. “Fry versus Dwight: American Music’s Debate over Nationality.” American Music 3 no. 1 (1985): 63–84.

Chotzinoff, Samuel. “Brazilian Music Heard on Philharmonic Program.” New York Post, May 10, 1939.

Chotzinoff, Samuel. “Words and Music: Boston Symphony Draws Throng to Carnegie Hall.” New York Post, November 21, 1938.

Chowrimootoo, Christopher. “Bourgeois Opera: Death in Venice and the Aesthetics of Sublimation.” Cambridge Opera Journal 22, no. 2 (2011): 177–218.

Chua, Daniel K. L. Absolute Music and the Construction of Meaning. Cambridge: Cambridge University Press, 1999.

Citkowitz, Israel. “American Composers, XII: Walter Piston—Classicist.” Modern Music 13, no. 2 (1936): 3–10.

Citkowitz, Israel. “Forecast and Review: Winter Music, New York, 1933.” Modern Music 10, no. 3 (1933): 154–57.

Citkowitz, Israel. “Spring Concerts in New York.” Modern Music 9, no. 4 (1932): 168–72.

Clark, Walter Aaron. “Doing the Samba on Sunset Boulevard: Carmen Miranda and the Hollywoodization of Latin American Music.” In Walter Aaron Clark, ed., From Tejano to Tango: Latin American Popular Music. New York: Routledge, 2002, 252–76.

Clark, Walter Aaron. Enrique Granados: Poet of the Piano. New York: Oxford University Press, 2006.

Clements, Andrew. “Music in 12 Parts.” Guardian, May 14, 2010, http://www.guardian.co.uk/music/2010/may/14/music-in-12-parts-review (accessed May 4, 2011).

Coad, Malcolm. “Rebirth of Chilean Cinema.” In Ruth Petries, ed., Film and Censorship: The Index Reader. London: Cassel, 1997, 39–47.

Coady, R. J. “American Art” (part 1). The Soil 1, no. 1 (1916): 3–4.

Coady, R. J. “American Art” (part 2). The Soil 1, no. 2 (1917): 54–56.

Connell-Smith, Gordon. “Latin America in the Foreign Relations of the United States.” Journal of Latin American Studies 8, no. 1 (1976): 137–50.

Cooke, Mervyn, ed. Cambridge Companion to Twentieth-Century Opera. Cambridge: Cambridge University Press, 2005.

Copland, Aaron. “Carlos Chávez—Mexican Composer.” New Republic 54 (May 2, 1928): 322–23.

Copland, Aaron. “Carlos Chávez—Mexican Composer.” In Henry Cowell, ed., American Composers on American Music. Stanford: Stanford University Press, 1933, 102–6.

(p.252) Copland, Aaron. “The Composers of South America.” Modern Music 19, no. 2 (1942): 75–82.

Copland, Aaron. “Festival in Caracas.” New York Times, December 26, 1954.

Copland, Aaron. Music and Imagination. 1952. Cambridge: Harvard University Press, 1966.

Copland, Aaron. Our New Music: Leading Composers in Europe and America. New York: McGraw-Hill, 1941.

Copland, Aaron. “El Salón México.” Program booklet. Boston Symphony Orchestra, Fifty-eighth Season, 1938–39, 16–17.

Copland, Aaron. “The Story behind My El salón México.” Tempo no. 4 (July 1939): 2–4.

Copland, Aaron, and Vivian Perlis. Copland, 1900–1942. New York: St. Martin’s Press, 1984.

Copland, Aaron, and Vivian Perlis. Copland Since 1943. New York: St. Martin’s Press, 1989.

Cordero, Roque. “¿Nacionalism versus dodecafonismo?” Revista Musical Chilena 13 (1959): 28–38.

Coriat, Isador H. Repressed Emotions. New York: Brentano’s, 1920.

Coriat, Isador H. What Is Psychoanalysis? New York: Moffat, Yard, 1919.

Corrado, Omar. “Música culta y política en Argentina entre 1930 y 1945.” Música e Investigación 9 (2001): 1–11.

Corrado, Omar. Música y modernidad en Buenos Aires, 1920–1940. Buenos Aires: Gourmet Musical Ediciones, 2010.

Corrado, Omar. “Viena en Buenos Aires: Notas sobre la primera recepción de la Escuela de Viena en Argentina.” Pauta (Mexico) 108 (October–December 2008): 8–41.

Cortesi, Arnaldo. “Brazil at War Stirs Latins.” New York Times, August 23, 1942.

Covarrubias, Miguel. Mexico South. New York: Knopf, 1947.

Cowell, Henry. “Improving Pan American Music Relations.” Modern Music 19, no. 4 (1942): 263–65.

Cowell, Henry. Program booklet, Second Inter-American Music Festival, April 22–30, 1961.

Cowell, Henry. “Towards Neo-Primitivism.” Modern Music 10, no. 3 (1932–33): 149–53.

Cox, Ainslee. “New York.” Music Journal, January 1979, 39.

Cramer, Gisela, and Ursula Prutsch. “Nelson A. Rockefeller’s Office of Inter-American Affairs (1940–1946) and Record Group 229.” Hispanic American Historical Review 86, no. 4 (2006): 785–806.

Crawford, Richard. The American Musical Landscape. Berkeley: University of California Press, 1993.

Crawford, Richard. “Dvorak and the Historiography of American Music.” In David Beveridge, ed., Rethinking Dvorak: Views from Five Countries. Oxford: Clarendon Press, 1996, 257–63.

Crawford, Richard. “Edward MacDowell: Musical Nationalism and an American Tone Poet.” Journal of the American Musicological Society 49, no. 3 (1996): 528–60.

Crawford, Richard. An Introduction to America’s Music. New York: Norton, 2001.

Crist, Elizabeth B. Music for the Common Man: Aaron Copland During the Depression and War. Oxford: Oxford University Press, 2005.

“El cuento de la buena pipa.” Primera plana 5, no. 243 (1967): 68.

Cugat, Xavier. Rumba Is My Life. New York: Didier, 1948.

Cuney-Hare, Maud. Negro Musicians and Their Music. Washington, D.C.: Associated Publishes, 1936.

Custer, Arthur. “Contemporary Music in Spain.” Musical Quarterly 48, no. 1 (1962): 1–18.

Dahlhaus, Carl. Between Romanticism and Modernism. Trans. Mary Whittall. Berkeley: University of California Press, 1980.

Dahlhaus, Carl. Nineteenth-Century Music. Trans. J. Bradford Robinson. Berkeley: University of California Press, 1989.

(p.253) Daniel, Oliver. Stokowski: A Counterpoint of View. New York: Dodd, Mead, 1982.

Daniel, Yvonne. Dance and Social Change in Contemporary Cuba. Bloomington: Indiana University Press, 1995.

Darío, Rubén. Selected Poems of Rubén Darío: A Bilingual Anthology. Ed. Alberto Acereda. Trans. Will Derusha. Lewisburg, Pa.: Bucknell University Press, Associated University Presses, 1993.

da Silva, Owen. Mission Music of California. Los Angeles: Warren F. Lewis, 1941.

Dasilva, Fabio. “Misleading Discourse and the Message of Silence: An Adornian Introduction to Villa-Lobos’s Music.” International Review of the Aesthetics and Sociology of Music 10, no. 2 (1979): 167–80.

Davies, Drew Edward. “The Italianized Frontier: Music of the Durango Cathedral, Español Culture, and the Aesthetics of Devotion in Eighteenth-Century New Spain.” Ph.D. diss., University of Chicago, 2006.

Dávila, Jerry. “Myth and Memory: Getúlio Vargas’s Long Shadow over Brazilian History.” In Jens R. Hentschke, ed., Vargas and Brazil: New Perspectives. New York: Palgrave Macmillan, 2006, 257–82.

Davis, Darién J. White Face, Black Mask. East Lansing: Michigan State University Press, 2009.

Debord, Guy. The Society of the Spectacle. Trans. Donald Nicholson-Smith. New York: Zone Books, 1994.

Delano, Jack. Puerto Rico Mío: Four Decades of Change. Washington, D.C.: Smithsonian Institution Press, 1990.

DeLapp, Jennifer. “Copland in the Fifties: Music and Ideology in the McCarthy Era.” Ph.D. diss., University of Michigan, Ann Arbor, 1997.

DeLapp-Birkett, Jennifer. “Aaron Copland and the Politics of Twelve-Tone Composition in the Early Cold War United States.” Journal of Musicological Research 27, no. 1 (2008): 31–62.

Delpar, Helen. The Enormous Vogue of Things Mexican: Cultural Relations between the United States and Mexico, 1920–1935. Tuscaloosa: University of Alabama Press, 1992.

Denning, Michael. The Cultural Front: The Laboring of American Culture in the Twentieth Century. London: Verso, 1998.

DePalma, Anthony. The Man Who Invented Fidel: Cuba, Castro, and Herbert L. Matthews of the New York Times. New York: Public-Affairs, 2006.

Dett, R. Nathaniel. “Negro Music.” In Oscar Thompson, ed., The International Cyclopedia of Music and Musicians. New York: Dodd, Mead, 1939, 1243–46.

Devoto, Daniel. “Panorama de la musicología latinoamericana.” Acta musicologica 31, nos. 3–4 (1959): 91–109.

Díaz Sánchez, Julián. “Al servicio del espíritu: La redefinición de la vanguardia artística en el franquismo.” In Ignacio Henares Cuellar, María Isabel Cabrera García, Gemma Pérez Zalduondo, and José Castillo Ruíz, eds., Dos décadas de cultura artística en el franquismo. 2 vols. Granada: University of Granada, 2001, 1: 269–85.

“Diego Rivera Exhibits in New York.” Bulletin of the Pan American Union 66, no. 1 (1932): 48–52.

Domínguez, Alberto, and Nancy de los Santos, directors. The Bronze Screen: One Hundred Years of the Latino Image in Hollywood. Questar, 2002.

Dorfman, Ariel, and Armand Mattelart. How to Read Donald Duck: Imperialist Ideology in the Disney Comic. Trans. David Kunzle. New York: International General, 1975.

Dos Passos, John. “Paint the Revolution!” New Masses 2, no. 5 (1927): 15–17.

Douglass, Ana, and Thomas A. Vogler, eds. Witness and Memory: The Discourse of Trauma. New York: Routledge, 2003.

(p.254) Downes, Edward. “Barnett Directs Orchestral Unit.” New York Times, November 12, 1958.

Downes, Olin. “Argentine Pianist Scores in Program.” New York Times, March 12, 1946.

Downes, Olin. “Art of Villa Lobos: Works of Brazilian Composer Show Blend of Genius and Naivete.” New York Times, May 14, 1939.

Downes, Olin. “Brazilian Music Heard in Concert.” New York Times, October 17, 1940.

Downes, Olin. “Brazilian Music Is Played at the Fair.” New York Times, May 5, 1939.

Downes, Olin. “Brazilian Music on Fair Program.” New York Times, May 10, 1939.

Downes, Olin. “Brazilian Series of Concerts Ends.” New York Times, October 21, 1940.

Downes, Olin. “Chávez Conducts Boston Orchestra.” New York Times, April 11, 1936.

Downes, Olin. “Chávez Presents Opening Program.” New York Times, February 12, 1937.

Downes, Olin. “Choral Works, New and Old.” New York Times, April 14, 1940.

Downes, Olin. “Copland Novelty in Premiere Here.” New York Times, November 20, 1938.

Downes, Olin. “From Brazil.” New York Times, October 13, 1940.

Downes, Olin. “Hector Villa-Lobos: Visiting Composer Discusses Sources of Nationalism in Art.” New York Times, December 17, 1944.

Downes, Olin. “Koussevitzky Gets Ovation in Boston.” New York Times, October 11, 1924.

Downes, Olin. “Kussevitsky [sic] as a Magnetic Personality—Prokofiev and the Powers of Evil.” New York Times, June 15, 1924.

Downes, Olin. “Music.” New York Times, November 3, 1924.

Downes, Olin. “Music: More of the Ultra-Modern.” New York Times, November 29, 1926.

Downes, Olin. “Music: Presenting American Composers.” New York Times, April 23, 1928.

Downes, Olin. “Music Presented of South America.” New York Times, April 18, 1940.

Downes, Olin. “Musicians’ Group Opens New Season.” New York Times, November 2, 1932.

Downes, Olin. “Sacre du Printemps Played.” New York Times, February 1, 1924.

Downes, Olin. “Schola Cantorum Gives Novelties.” New York Times, January 15, 1930.

Downes, Olin. “2 South American Composers Guests.” New York Times, February 24, 1947.

Downes, Olin. “Villa-Lobos Guest at the City Center.” New York Times, February 13, 1945.

Downes, Olin. “Women’s Orchestrette Classique.” New York Times, December 1, 1936.

Downes, Olin. “Young Composer’s ‘Anti-Impressionism’ Need of New Orchestral Programs.” New York Times, March 29, 1925.

Downs, Linda Bank. Diego Rivera: The Detroit Industry Murals. New York: Detroit Institute of Arts, Norton, 1999.

Driver, Paul. “Recordings: Rzewski The People United Will Never Be Defeated!Tempo 136 (1981): 24–27.

Dunn, Christopher. Brutality Garden: Tropicália and the Emergence of a Brazilian Counterculture. Chapel Hill: University of North Carolina Press, 2001.

D’Urbano, Jorge. “Calculada audacia.” Panorama 50 (1967): 56–57.

D’Urbano, Jorge. Música en Buenos Aires. Buenos Aires: Editorial Sudamericana, 1966.

Dyer, Richard. “Entertainment and Utopia.” In Rick Altman, ed., Genre: The Musical. London: Routledge and Kegan Paul, 1981, 175–89.

Einstein, Alfred. “National and Universal Music.” Modern Music 14, no. 1 (1936): 3–11.

Einstein, Alfred. “War, Nationalism, Tolerance.” Modern Music, November–December 1939, 3–9.

Elie, Rudolph, Jr. “Heitor Villa-Lobos: Genius, South American Department.” Boston Herald, February 25, 1946.

Engel, Jonathan. American Therapy: The Rise of Psychotherapy in the United States. New York: Gotham Books, 2008.

Enloe, Cynthia. Bananas, Beaches and Bases: Making Feminist Sense of International Politics. Berkeley: University of California Press, 1990.

(p.255) Ericson, Raymond. “Lilit Gampel, 12, Violinist Plays Like Mature Artist.” New York Times, June 9, 1972.

Espinosa, J. Manuel. Inter-American Beginnings of U.S. Cultural Diplomacy, 1936–1948. Washington, D.C.: Department of State Publications, 1976.

Estrella, Miguel Ángel. Música para la esperanza: Conversaciones con Jean Lacouture. Buenos Aires: Ediciones de la Flor, 1985.

Evans, Ernestine. “If I Should Go Back to Mexico.” Century Magazine 111 (February 1926): 459–60.

Eversman, Alice. “Simon Sadoff Gives Pleasing Performance.” Washington Evening Star, September 9, 1946.

Evett, Robert. “Bomarzo, Si, Rigoletto, No.” New Republic 156 (June 10, 1967): 28–29.

Evett, Robert. “New Music of the Americas.” New Republic 138 (April 28, 1958): 23.

Faber, Sebastiaan. “Learning from the Latins: Waldo Frank’s Progressive Pan-Americanism.” New Centennial Review 3, no. 1 (2003): 257–95.

Fagg, John Edwin. Pan Americanism. Malabar, Fla.: Robert E. Krieger, 1982.

Farwell, Arthur. “Nationalism in Music.” In Oscar Thompson, ed., The International Cyclopedia of Music and Musicians. New York: Dodd, Mead, 1939, 1234–39.

Farwell, Arthur. “Roy Harris.” Musical Quarterly 18, no. 1 (1932): 18–32.

Faulkner, Anne Shaw. “Does Jazz Put the Sin in Syncopation?” In Robert Walser, ed., Keeping Time: Readings in Jazz History. New York: Oxford University Press, 1999, 32–36.

Felber, Erwin. “Step-Children of Music.” Modern Music 4, no. 4 (1926): 31–33.

Fernández, Justino. Estética del arte mexicano. Mexico City: Universidad Nacional Autónoma de México, 1972.

Fernández Retamar, Roberto. Caliban and Other Essays. Trans. Edward Baker. Minneapolis: University of Minnesota Press, 1989.

Fine, Irving Gifford. “Boston Hears Villa-Lobos; Attends Theatre.” Modern Music 22, no. 3 (1945): 188–90.

Fink, Robert. Repeating Ourselves: American Minimalism as Cultural Practice. Berkeley: University of California Press, 2005.

Fisher, Marjorie M. “Villa-Lobos Music Makes Light Opera Grand.” San Francisco News, n.d., New York Public Library clippings file.

Fitz-Gerald, John D. “The Opportunity and the Responsibility of the Teacher of Spanish.” Hispania 1 (November 1917): 11–18.

Fles, Barthold. “Chavez Lights New Music with Old Fires.” Musical America 48, no. 22 (1928): 1, 21.

F.M. [Fred Marey]. “Beware the Ides of Bomarzo: Hue and Cry about Ban of Ginastera’s Opera as Local Censors Are Overstepping Their Faculties.” Buenos Aires Herald, July 24, 1967.

F.M. [Frank Merkling]. “Reports: United States.” Opera News 30 (March 26, 1966): 30.

Fobes, Christopher A. “A Theoretical Investigation of Twelve-Tone Rows, Harmonic Aggregates, and Non–Twelve Tone Materials in the Late Music of Alberto Ginastera.” Ph.D. diss., State University of New York at Buffalo, 2006.

Fojas, Camilla. Cosmopolitanism in the Americas. West Lafayette, Ind.: Purdue University Press, 2005.

Forbes, Jack D. Black Africans and Native Americans: Color, Race and Caste in the Evolution of Red-Black Peoples. Oxford: Basil Blackwell, 1988.

Foreman, Lewis. “Ginastera: A Discography.” Tempo no. 118 (September 1976): 17–22.

(p.256) Fosler-Lussier, Danielle. “American Cultural Diplomacy and the Mediation of Avant-garde Music.” In Robert Adlington, ed., Sound Commitments: Avant garde Music and the Sixties. Oxford: Oxford University Press, 2009, 232–53.

Fosler-Lussier, Danielle. Music Divided: Bartók’s Legacy in Cold War Culture. Berkeley: University of California Press, 2007.

Foucault, Michel. The History of Sexuality. Vol. 1. Trans. Robert Hurley. New York: Vintage Books, 1978.

Franco, Jean. The Modern Culture of Latin America: Society and Artist. London: Pall Mall Press, 1967.

Frank, Thomas C. The Conquest of Cool: Business Culture, Counterculture, and the Rise of Hip Consumerism. Chicago: University of Chicago Press, 1997.

Frank, Waldo. America Hispana: A Portrait and a Prospect. New York: Charles Scribner’s Sons, 1931.

Frank, Waldo. Our America. New York: Boni and Liveright, 1919.

Frank, Waldo. The Re-Discovery of America. New York: Charles Scribner’s Sons, 1929.

Frank, Waldo. Virgin Spain. New York: Boni and Liveright, 1926.

Frankenstein, Alfred. “Villa-Lobos at Large: Afloat with a Note on the Magdalena.” San Francisco Examiner, n.d., New York Public Library clippings file.

Freud, Sigmund. The Standard Edition of the Complete Psychological Works of Sigmund Freud. Trans. James Strachey. 1957. New York: Hogarth Press and the Institute of Psycho-Analysis, 1961.

Freud, Sigmund. Totem and Taboo: Resemblances between the Psychic Lives of Savages and Neurotics. Trans. James Strachey. 1913; rpt. New York: Norton, 1950.

Fry, Andy. “Rethinking the Revue nègre: Black Musical Theatre in Inter-War Paris.” In Julie Brown, ed., Western Music and Race. Cambridge: Cambridge University Press, 2007, 258–75.

Fulbright, J. William. The Arrogance of Power. New York: Random House, 1966.

Gamio, Manuel. Forjando Patria. Trans. Fernando Armstrong-Fumero. Boulder: University Press of Colorado, 2010.

García, Mario T. Mexican Americans: Leadership, Ideology, and Identity, 1930–1960. New Haven: Yale University Press, 1989.

García Canclini, Néstor. Cultura y comunicación entre lo global y lo local. La Plata, Argentina: Facultad de Periodismo y Comunicación Social de la Plata, 1997.

García Canclini, Néstor. Hybrid Cultures: Strategies for Entering and Leaving Modernity. 1989. Trans. Christopher L. Chiappari and Silvia L. López. Minneapolis: University of Minnesota Press, 1995.

García Canclini, Néstor. “Memory and Innovation in the Theory of Art.” South Atlantic Quarterly 92, no. 3 (1993): 423–43.

García Morillo, Roberto. Carlos Chávez: Vida y obra. Mexico City: Fondo de Cultura Económica, 1960.

García Muñoz, Carmen. “Juan José Castro (1895–1968).” Cuadernos de música iberoamericana 1 (1996): 3–24.

Garrett, Charles Hiroshi. Struggling to Define a Nation: American Music and the Twentieth Century. Berkeley: University of California Press, 2008.

Gates, Eunice Joiner. “Brazilian Music.” Hispania 22, no. 2 (1939): 129–34.

Gay, Peter, ed. The Freud Reader. New York: Norton, 1989.

Geist, Anthony L., and José B. Monleón, eds. Modernism and Its Margins: Reinscribing Cultural Modernity from Spain and Latin America. New York: Garland, 1999.

(p.257) Gellman, Irwin F. Good Neighbor Diplomacy: United States Policies in Latin America, 1933–1945. Baltimore: Johns Hopkins University Press, 1979.

Gershwin, George. “The Composer in the Machine Age.” In Oliver M. Sayler, ed., Revolt in the Arts: A Survey of the Creation, Distribution and Appreciation of Art in America. New York: Brentano’s, 1930, 264–69.

Gidal, Marc. “Contemporary ‘Latin American’ Composers of Art Music in the United States: Cosmopolitans Navigating Multiculturalism and Universalism.” Latin American Music Review 31, no. 1 (2010): 40–78.

Gil, Federico. Latin American–United States Relations. New York: Harcourt Brace Jovanovich, 1971.

Gilbert, Steven E. The Music of Gershwin. New Haven: Yale University Press, 1995.

Ginastera, Alberto. “How and Why I Wrote Bomarzo.” Central Opera Service Bulletin, 9, no. 5 (1967): 10–13.

Ginastera, Alberto. “Why the Inter-American Must Be a Festival of Youth.” Sunday Star (Washington, D.C.), June 23, 1968. Latin American Music Center, Indiana University.

Giunta, Andrea. Vanguardia, internacionalismo y política: Arte argentino en los años sesenta. Buenos Aires: Paidós, 2001.

Goehr, Lydia. The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music. Oxford: Clarendon Press, 1992.

Goldberg, Albert. “Ginastera Quartet Lively, Novel Work.” Los Angeles Times, January 5, 1956.

Goldberg, Isaac. George Gershwin: A Study in American Music. New York: F. Ungar, 1958.

Gombrich, E. H. The Ideas of Progress and Their Impact on Art. New York: Cooper Union School of Art and Architecture, 1971.

González, Juan Pablo. “Chilean Musicians’ Discourse of the 1980s: A Collective Poetics, Pedagogy and Socio-Aesthetics of Art and Popular Music.” Ph.D. diss., University of California at Los Angeles, 1990.

González, Juan Pablo. “Hegemony and Counter-Hegemony of Music in Latin America: The Chilean Pop.” Popular Music and Society 15 (1991): 63–78.

González, Juan Pablo. “Inti-Illimani and the Artistic Treatment of Folklore.” Latin American Music Review 10, no. 2 (1989): 267–86.

Gonzalez, Mike. “Ideology and Culture under Popular Unity.” In Philip O’Brien, ed., Allende’s Chile. New York: Praeger, 1976, 106–27.

Goodwin, Philip L. Brazil Builds: Architecture New and Old, 1652–1942 / Construção Brazil: Arquitetura moderna e antiga. New York: Museum of Modern Art, 1943.

Gordon, Diane. “Inti-Illimani: Chile’s Masters of the ‘New Song.’” Guitar Player 31 (October 1997): 41–42.

“Gorgeous Pageant ‘Aztec Gold’ Marks Charity Carnival.” New York Herald Tribune, May 3, 1929.

Gottlieb, Jack, ed. Leonard Bernstein’s Young Peoples Concerts. New York: Doubleday, 1992.

Graça Aranha, José Pereira de. “A emoção estética na arte moderna.” In Espirito Moderno. 2nd ed. São Paulo: Companhia Editora Nacional, 1932.

Graeff, Edward A. Cidade Utopia. Belo Horizonte, Brazil: Editora Vega, 1979.

Graham, Martha. “Seeking an American Art of Dance.” In Oliver M. Sayler, ed., Revolt in the Arts: A Survey of the Creation, Distribution and Appreciation of Art in America. New York: Brentano’s, 1930, 249–55.

Granja Tachuchian, Maria de Fátima. “Panamericanismo, propaganda e musica erudite: Estados Unidos e Brasil (1939–1948).” 2 vols. Ph.D. diss., University of São Paulo, 1998.

(p.258) Grant, Madison. The Passing of the Great Race or The Racial Basis of European History. 4th revised ed. New York: Charles Scribner’s Sons, 1921.

Grant, Mark N. Maestros of the Pen: A History of Classical Music Criticism in America. Boston: Northeastern University Press, 1998.

Gray, Cecil. A Survey of Contemporary Music. 2nd ed. Oxford: Oxford University Press, 1927.

Greenberg, Clement. “Art.” Nation 162, no. 8 (1946): 241–42.

Greenberg, Clement. “Avant-Garde and Kitsch.” In Francis Frascina, ed., Pollock and After: The Critical Debate. 2nd ed. London: Routledge, 2000, 21–33.

Greenblatt, Stephen. “Resonance and Wonder.” In Ivan Karp and Steven D. Lavine, eds., Exhibiting Cultures: The Poetics and Politics of Museum Display. Washington, D.C.: Smithsonian Institution, 1991, 42–56.

Griffiths, Paul. “Aleatory.” Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/grove/music/00509 (accessed July 11, 2010).

Grout, Donald Jay. A History of Western Music. New York: Norton, 1960.

Growther, Bosley. “The Screen.” New York Times, February 13, 1943.

Guérios, Paulo Renato. “Heitor Villa-Lobos e o Ambiente Artístico Parisiense: Convertendo-se em un Músico Brasileiro.” Mana 9, no. 1 (2003): 81–108.

Guilbaut, Serge. How New York Stole the Idea of Modern Art: Abstract Expressionism, Freedom, and the Cold War. Trans. Arthur Goldhammer. Chicago: University of Chicago Press, 1983.

Gupta, Akhil, and James Ferguson. “Beyond Culture: Space, Identity, and the Politics of Difference.” In Akhil Gupta and James Ferguson, eds., Culture, Power, and Place: Explorations in Critical Anthropology. Durham, N.C.: Duke University Press, 1997, 33–51.

Gupta, Akhil, and James Ferguson, eds. Culture, Power, and Place: Explorations in Critical Anthropology. Durham, N.C.: Duke University Press, 1997.

Guterl, Matthew Pratt. The Color of Race in America, 1900–1940. Cambridge: Harvard University Press, 2001.

Gutheim, Frederick A. “Buildings at the Fair.” Magazine of Art 32, no. 5 (1939): 286–89, 316.

Hale, Nathan G., Jr. Freud and the Americans: The Beginnings of Psychoanalysis in the United States, 1876–1917. New York: Oxford University Press, 1971.

Hall, Raymond. “Americans in Venice.” New York Times, October 16, 1938.

Hamm, Charles. “Dvorak, Nationalism, Myth, and Racism.” In David Beveridge, ed., Rethinking Dvorak: Views from Five Countries. Oxford: Clarendon Press, 1996, 275–80.

Hampton, Edgar Lloyd. “Rebirth of Prehistoric American Art.” Current History 25, no. 5 (1925): 625–34.

Hanke, Lewis, ed. Do the Americas Have a Common History? A Critique of the Bolton Theory. New York: Knopf, 1964.

Haring, Clarence H. South America Looks at the United States. 1928. New York: Arno Press and the New York Times, 1970.

Harrison, Jay S. “Eartha Kitt Heard in Song Program at the Stadium.” New York Herald Tribune, July 11, 1960.

Hart, Brian. “The Symphony in Theory and Practice in France, 1900–1914.” Ph.D. diss., Indiana University, 1993.

Haskins, John. Preface in program booklet for First Inter-American Music Festival, April 18–20, 1958, 7. Guillermo Espinosa Collection, Latin American Music Center, Indiana University.

Heile, Björn. The Music of Mauricio Kagel. Aldershot, U.K.: Ashgate, 2006.

Helm, McKinley. Mexican Painters. 1941. New York: Dover, 1989.

Helpern, Alice. “The Technique of Martha Graham.” Studies in Dance History 2, no 2 (1991): 36–49.

(p.259) Henahan, Donal. “Sex and Violence in His Opera? Ginastera Agrees with Censors.” New York Times, February 14, 1968.

Henahan, Donal. “(1) ‘Why Not?’ (2) ‘One Step Forward.’” New York Times, May 10, 1968.

Henderson, W. H. “Boston Orchestra Plays Stravinsky’s Impressive Ballet.” New York Herald, February 1, 1924.

Henderson, W. J. “Modern Works Given in Concert.” New York Sun, November 29, 1926.

Henderson, W. J. “Present American Composers.” New York Sun, April 23, 1928.

Henestrosa, Andrés. “Música Mestiza de Tehuantepec.” Revista Musical Mexicana, nos. 5 and 7 (March 7 and April 7, 1942): 107–9, 151–54.

Henry, Beck C. “H.P. Makes Premiere Here with a Bang as Sparkplugs Go into a Song and Dance.” Philadelphia Record, April 1, 1932.

Hernández Campos, Jorge. “The Influence of the Classical Tradition, Cézanne, and Cubism on Rivera’s Artistic Development.” In Linda Downs and Ellen Sharp, eds., Diego Rivera: A Retrospective. New York: Founders Society Detroit Institute of Arts and Norton, 1986, 119–29.

Herrera, Luis Eduardo. “Politics of Creation / Creation of Politics, or Composing Peripheries: Musical Creation, Political Repression, and Cold-War Strategies in Dictatorial Argentina.” Ph.D. diss., University of Illinois at Urbana-Champaign, forthcoming.

Herrera, Hayden. Frida: A Biography of Frida Kahlo. New York: Harper & Row, 1983.

Hess, Carol A. “Anti-Fascism by Another Name: Gustavo Durán, the Good Neighbor Policy, and franquismo in the United States.” In Gemma Pérez-Zalduondo, ed., Música, ideología y política en la cultura artística durante el franquísmo (1938–1975). Madrid: Ministerio de España y Fundación Brepols, forthcoming.

Hess, Carol A. “Competing Utopias? Musical Ideologies in the 1930s and Two Spanish Civil War Films.” Journal of the Society for American Music 2, no. 3 (2008): 319–54.

Hess, Carol A. “Copland in Argentina: Pan Americanist Politics, Folklore, and the Crisis of Modernism.” Journal of the American Musicological Society 66, no. 1 (2013): 191–250.

Hess, Carol A. “‘De aspecto inglés pero de alma española’: Gilbert Chase, Spain, and Musicology in the United States.” Revista de Musicología, forthcoming.

Hess, Carol A. Enrique Granados: A Bio-Bibliography. Westport, Conn.: Greenwood Press, 1991.

Hess, Carol A. “Jean Berger: A ‘Good Neighbor’ in the United States.” American Music Research Center Journal 18 (2010): 39–52.

Hess, Carol A. “Leopold Stokowski, ‘Latin’ Music, and Pan Americanism.” Inter-American Music Review 18, nos. 1–2 (2008): 395–401.

Hess, Carol A. Manuel de Falla and Modernism in Spain, 1989–1936. Chicago: University of Chicago Press, 2001.

Hess, Carol A. “Miguel Ángel Estrella: (Classical) Music for the People, Dictatorship, and Memory.” In Patricia Hall, ed., The Oxford Handbook of Music Censorship. New York: Oxford University Press, forthcoming.

Hess, John A. Questions and Answers in Chemistry. Revised ed. New York: College Entrance Book Company, 1934.

Hewes, Harry L. “The Mexican Ballet-Symphony H.P.” Bulletin of the Pan American Union 66, no. 6 (1932): 421–24.

“The Hispanicisation of America: The Law of Large Numbers.” Economist 396, no. 8699 (2010): 35–36.

Hitchcock, H. Wiley. Music in the United States: A Historical Introduction. 4th ed. Upper Saddle River, N.J.: Prentice-Hall, 2000.

Hobart, John. “Magdalena Is Exciting Theater.” San Francisco Chronicle, n.d. New York Public Library clippings file.

(p.260) Hodgson, Godfrey. The Myth of American Exceptionalism. New Haven: Yale University Press, 2009.

Holden, Robert H., and Eric Zolov, eds. Latin America and the United States: A Documentary History. New York: Oxford University Press, 2000.

Holden, Stephen. “A Lush Musical by Villa-Lobos.” New York Times, November 19, 1987.

Holly, Janice E. “Irving Lowens and The Washington Star: The Vision, the Demise.” Ph.D. diss., University of Maryland, 2007.

Honour, Hugh. The European Vision of America. Cleveland: Cleveland Museum of Art, 1975.

Hornbostel, Erich von. “African Negro Music.” Africa: Journal of the International African Institute 1 (1928): 30–62.

Horowitz, Joseph. “Dvorak and Boston.” American Music 19, no. 1 (2001): 3–17.

Housewright, Wiley L. A History of Music and Dance in Florida, 1565–1865. Tuscaloosa: University of Alabama Press, 1991.

Howard, John Tasker. This Modern Music: A Guide for the Bewildered Listener. New York: Thomas Y. Crowell, 1942.

Hubbs, Nadine. The Queer Composition of America’s Sound: Gay Modernists, American Music, and National Identity. Berkeley: University of California Press, 2004.

Huebner, Steven. French Opera at the Fin de Siècle: Wagnerism, Nationalism, and Style. New York: Oxford University Press, 1999.

Hume, Paul. “Bomarzo: A Modern Masterpiece.” Washington Post, May 20, 1967.

Hume, Paul. “Ginastera Emerges as Giant in Music Festival’s Finale.” Washington Post, May 1, 1961.

Hume, Paul. “Music of Spain’s Avant-garde Heard Here.” Washington Post, June 28, 1968. Latin American Music Center, Indiana University.

Hume, Paul. “An Opera Is Born.” Américas 19, no. 7 (1967): 34–37.

Hume, Paul. “Postlude: Three Quartets Have World Premieres.” Washington Post and Times Herald, April 20, 1958.

Hume, Paul. “Villa-Lobos’s New No. 12 Is Festival Hit.” Washington Post and Times Herald, April 21, 1958.

Hurlburt, Laurance P. The Mexican Muralists in the United States. Albuquerque: University of New Mexico Press, 1989.

Hurtado, Leopoldo. “Aaron Copland habla de la música norteamericana.” Argentina Libre, October 9, 1941. Aaron Copland Collection, Library of Congress, Box 358, Folder 24.

Hutcheon, Linda. A Theory of Parody. 1985. Urbana: University of Illinois Press, 2000.

I.K. “Music of the Week End: Boston Symphony Matinee.” New York Sun, November 21, 1938.

“In a Gloomy Garden.” Time, May 26, 1967, 77.

Ingle, Marjorie. Mayan Revival Style: Art Deco Maya Fantasy. Salt Lake City, Utah: Peregrine Smith, 1984.

Jackson, K. David. “Three Glad Races: Primitivism and Ethnicity in Brazilian Modernist Literature.” Modernism/Modernity 1, no. 2 (1994): 89–112.

Jacobson, Robert. “Capital Ginastera in Washington.” Saturday Review, June 24, 1967, 59, 64.

Jameson, Fredric. “Reification and Utopia in Mass Culture.” Social Text 1, no. 1 (1979): 130–48.

Jansen, Sue Curry. Censorship, the Knot That Binds Power and Knowledge. New York: Oxford University Press, 1988.

Jara, Joan. An Unfinished Song: The Life of Victor Jara. New York: Ticknor & Fields, 1984.

Jara, Joan, and Adrian Mitchell. Victor Jara: His Life and Songs. Ottawa: Elm Tree Books, 1976.

(p.261) J.D.B. [Jerome D. Bohm]. “Stadium Filled as 17,000 Hear Gershwin Play.” New York Herald Tribune, August 17, 1932.

Jeffrey, Jaclyn, ed. Memory and History: Essays on Recalling and Interpreting. Lanham, Md.: University Press of America, 1994.

Jewell, Edward Alden. “About Orozco’s New Frescoes.” New York Times, February 1, 1931.

Jewell, Edward Alden. “Deep Well of Culture.” New York Times, October 19, 1930.

Johnson, Harriett. “Words and Music: A Surprise ‘Toy’ Symphony—Villa Lobos and Francescatti.” New York Post, February 9, 1945.

Jewell, Edward Alden. “Words and Music: UN Shares in Stokowski Opening.” New York Post, October 8, 1963.

Johnson, John J. Latin America in Caricature. Austin: University of Texas Press, 1980.

Joost, Nicholas, and Alvin Sullivan, D. H. Lawrence and The Dial. Carbondale: Southern Illinois University Press, 1970.

Joseph, Gilbert M. “Close Encounters: Toward a New History of U.S.–Latin American Relations.” In Gilbert M. Joseph, Catherine C. LeGrand, and Ricardo Salvatore, eds., Close Encounters of Empire: Writing the Cultural History of U.S.–Latin American Relations. Durham, N.C.: Duke University Press, 1998, 3–46.

Kanellos, Nicolás. A History of Hispanic Theatre in the United States: Origins to 1940. Austin: University of Texas Press, 1990.

Kant, Immanuel. Critique of Judgment. Trans. J. H. Bernard. New York: Hafner, 1951.

Katzew, Ilona. Casta Painting: Images of Race in Eighteenth-Century Mexico. New Haven: Yale University Press, 2004.

Kaufmann, Helen L. “Carlos Chávez: Decidedly No Mañana Mexican.” Musical America 61, no. 14 (1936): 11, 36.

Keen, Benjamin. The Aztec Image in Western Thought. New Brunswick, N.J.: Rutgers University Press, 1971.

Kenworthy, Eldon. America/Américas: Myth in the Making of U.S. Policy toward Latin America. University Park: Pennsylvania State University Press, 1995.

Kerman, Joseph. “Letter from Joseph Kerman.” Journal of the American Musicological Society 18, no. 3 (1965): 426–27.

Kerman, Joseph. “A Profile for American Musicology.” Journal of the American Musicological Society 18, no. 1 (1965): 61–69.

Kerner, Leighton. “Composers Defiant Will Never Be Refuted.” Village Voice 24, no. 65 (1979): 66.

Kert, Bernice. Abby Aldrich Rockefeller: The Woman in the Family. New York: Random House, 1993.

Kimmel, Michael. Manhood in America: A Cultural History. New York: Free Press, 1996.

Kimsey, John. “‘One Parchman Farm or Another’: Mose Allison, Irony and Racial Formation.” Journal of Popular Music Studies 17, no. 2 (2005): 105–32.

Kindermann, William. Beethoven’s Diabelli Variations. Oxford: Clarendon Press, 1987.

King, John. El Di Tella y el desarrollo cultural argentino en la década del sesenta. Buenos Aires: Arte Gaglianone, 1985.

King, John. Sur: A Study of the Argentine Literary Journal and Its Role in the Development of a Culture, 1931–1970. Cambridge: Cambridge University Press, 1986.

Kirkpatrick, John. “Aaron Copland’s Piano Sonata.” Modern Music 10, no. 4 (1942): 246–50.

Klein, Howard. “Ginastera: A Most Happy Composer.” New York Times, February 20, 1966.

Knapp, Raymond. The American Musical and the Formation of National Identity. Princeton: Princeton University Press, 2005.

(p.262) Knapp, Raymond. “Utopian Agendas: Variation, Allusion, and Referential Meaning in Brahms’s Symphonies.” In David Brodbeck, ed., Brahms Studies 3. Lincoln: University of Nebraska Press, 2001, 129–89.

Knight, Alan. “Cardenismo: Juggernaut or Jalopy?” Journal of Latin American Studies 26, no. 1 (1994): 73–107.

Knight, Alan. “Racism, Revolution, and Indigenismo: Mexico, 1910–1940.” In Richard Graham, ed., The Idea of Race in Latin America, 1870–1940. Austin: University of Texas Press, 1990, 71–113.

Koegel, John. “Canciones del país: Mexican Musical Life in California after the Gold Rush.” California History 78, no. 3 (1999): 160–87.

Koegel, John. “Crossing Borders: Mexicana, Tejana, and Chicana Musicians in the United States and Mexico.” In Walter Aaron Clark, ed., From Tejano to Tango: Latin American Popular Music. New York: Routledge, 2002, 99–101.

Koegel, John. “Mexican Musicians in California and the United States, 1910–1950.” California History 84, no. 1 (2006): 7–29, 64–69.

Koegel, John, and José Juan Tablada. “Compositores Cubanos y Mexicanos en Nueva York: 1880–1920.” Historia Mexicana 56, no. 2 (2006): 533–612.

Kolb, Roberto, and José Wolffer, eds. Silvestre Revueltas: Sonidos en rebellion. Mexico City: Universidad Nacional Autónoma de México, Escuela Nacional de Música, Dirección General de Apoyo al Personal Académico, 2007.

Kolocotroni, Vassiliki, Jane Goldman, and Olga Taxidou, eds. Modernism: An Anthology of Sources and Documents. Chicago: University of Chicago Press, 1998.

Kolodin, Irving. “Marx Leads Music by Brazilians.” New York Sun, May 10, 1939.

Kornbluh, Peter. The Pinochet File: A Declassified Dossier on Atrocity and Accountability. New York: New Press, 2003.

Kostelanetz, Richard. A Theatre of Mixed Means. New York: Dial Press, 1968.

Kramer, Jonathan. The Time of Music: New Meanings, New Temporalities, New Listening Strategies. New York: Schirmer Books, 1988.

Kramer, Lawrence. Classical Music and Postmodern Knowledge. Berkeley: University of California Press, 1995.

Kriegsman, Alan M. “Composers Drop Nationalism.” Washington Post, July 7, 1968. Latin American Music Center, Indiana University.

Kuss, Malena. “Nacionalismo, identificación y Latinoamérica.” Cuadernos de música iberoamericana 6 (1998): 133–49.

Kuss, Malena. “Symbol und Phantasie in Ginasteras Bomarzo.” In Friedrich Spangemacher, ed., Alberto Ginastera. Bonn: Boosey & Hawkes, 1984, 88–102.

Kuss, Malena. “Type, Derivation, and Use of Folk Idioms in Ginastera’s Don Rodrigo (1964).” Latin American Music Review 1, no. 2 (1980): 176–95.

Labonville, Marie Elizabeth. Juan Bautista Plaza and Musical Nationalism in Venezuela. Bloomington: Indiana University Press, 2007.

LaCapra, Dominick. Representing the Holocaust: History, Theory, Trauma. Ithaca, N.Y.: Cornell University Press, 1994.

LaFeber, Walter. “Latin American Policy.” In Robert A. Divine, ed., Exploring the Johnson Years. Austin: University of Texas Press, 1981, 64–90.

Landon, H. C. Robbins. “A Pox on Manfredini.” High Fidelity 11, no. 6 (1961): 38–39, 86–87.

Landry, Robert J. “Bomarzo Not So Good on Melody: Major Production but Minor Score.” Variety, March 20, 1968, 70.

Lang, Paul Henry. “Music: Little Orchestra Society.” New York Herald Tribune, October 18, 1955.

(p.263) Lang, Paul Henry. “Music: New York Philharmonic.” New York Herald Tribune, April 8, 1961.

Lange, Francisco Curt. “Americanismo musical.” Boletín latino-americano de música 2 (1936): 117–30.

Lange, Francisco Curt. “Prefacio.” In Latin-American Art Music for the Piano by Twelve Contemporary Composers. New York: G. Schirmer, 1942.

Langley, Lester D. America and the Americas: The United States in the Western Hemisphere. Athens: University of Georgia Press, 1989.

Latham, Michael E. Modernization as Ideology: American Social Sciences and “Nation Building” in the Kennedy Era. Chapel Hill: University of North Carolina Press, 2000.

Laughlin, Henry P. Mental Mechanisms. Washington, D.C.: Butterworths, 1963.

Lavine, Harold, and James Wechsler. War Propaganda and the United States. New Haven: Yale University Press, 1940.

Lawler, Vanett. “Latin Americans See Our Musical Life.” Bulletin of the Pan American Union 76, no. 7 (1942): 368–73.

Lederman, Minna. “Composer Tells All.” New Republic, 102 (March 25, 1940): 416.

Lederman, Minna. The Life and Death of a Small Magazine. ISAM Monographs, no. 18. Brooklyn: Institute for Studies in American Music, 1983.

Lee, Sherry D. “A Minstrel in a World without Minstrels: Adorno and the Case of Schreker.” Journal of the American Musicological Society 58, no. 3 (2005): 639–96.

Lees, Eugene. “Critics Laud Symphony after Concert Here.” Louisville (Ky.) Times, October 8, 1955.

LeGrand, Catherine C. “Living in Macondo: Economy and Culture in a United Fruit Company.” In Gilbert M. Joseph, Catherine C. LeGrand, and Ricardo Salvatore, eds., Close Encounters of Empire. Durham, N.C.: Duke University Press, 1998, 333–68.

Leibowitz, Herbert A. ed. Musical Impressions: Selections from Paul Rosenfeld’s Criticism. London: George Allen & Unwin, 1969.

Leppert, Richard. “Music ‘Pushed to the Edge of Existence’ (Adorno, Listening, and the Question of Hope).” Cultural Critique 60 (2005): 92–133.

Levin, Gail. “From the New York Avant-Garde to Mexican Modernists: Copland and the Visual Arts.” In Carol J. Oja and Judith Tick, eds., Aaron Copland and His World. Princeton: Princeton University Press, 2005, 101–19.

Levin, Gail, and Judith Tick. Aaron Copland’s America: A Cultural Perspective. New York: Watson-Guptil, 2000.

Levine, Lawrence W. Highbrow/Lowbrow: The Emergence of Cultural Hierarchy in America. Cambridge: Harvard University Press, 1988.

Lévi-Strauss, Claude. Structural Anthropology. Trans. Claire Jacobson and Brooke Grundfest Schoepf. New York: Basic Books, 1963.

Levy, Beth E. Frontier Figures: American Music and the Mythology of the American West. Berkeley: University of California Press, 2012.

Levy, Beth E. “‘The White Hope of American Music’: Or, How Roy Harris Became Western.” American Music 10, no. 2 (2001): 131–67.

Lichtenwanger, William. The Music of Henry Cowell: A Descriptive Catalogue. ISAM Monographs no. 23. Brooklyn: Institute for Studies in American Music, 1985.

Lissfelt, J. Fred. “Music Festival Ends with Piano, Organ Selections.” Pittsburgh Sun-Telegraph, November 30, 1952.

Lissfelt, J. Fred. “Pittsburgh Holds Contemporary Music Festival.” Musical America 72, no. 16 (1952): 3, 28.

Livingston-Isenhour, Tamara Elena, and Thomas George Caracas García. Choro: A Social History of a Brazilian Popular Music. Bloomington: Indiana University Press, 2005.

(p.264) Locke, Ralph P. “Constructing the Oriental ‘Other’: Saint-Saëns’s Samson et Dalila.” Cambridge Opera Journal 3, no. 3 (1991): 261–302.

Locke, Ralph P. “Exoticism and Orientalism in Music: Problems for the Worldly Critic.” In Paul Bové, ed., Edward Said and the Work of the Critic: Speaking Truth to Power. Durham, N.C.: Duke University Press, 2000, 257–82.

Locke, Ralph P. “Reflections on Orientalism in Opera and Musical Theatre.” Opera Quarterly 10, no. 1 (1993): 49–73.

Lopes, Luiz Fernando. “The Evolution of Heitor Villa-Lobos’s Music: Sources, Style, and Reception.” Ph.D. diss., Indiana University, forthcoming.

Lorenz, Ricardo. “Voices in Limbo: Identity, Representation, and Realities of the Latin American Composer.” Unpublished paper, University of Chicago, 1999.

Lourie, Arthur. “Neogothic and Neoclassic.” Modern Music 5, no. 3 (1928): 3–8.

Lowens, Irving. “Current Chronicle.” Musical Quarterly 44, no. 3 (1958): 378–82.

Lowens, Irving. “Current Chronicle.” Musical Quarterly 47, no. 4 (1961): 530–34.

Lowens, Irving. “Current Chronicle.” Musical Quarterly 53, no. 4 (1967): 551–62.

Lowens, Irving. “Ginastera Harp Work Superbly Performed.” Evening Star (Washington, D.C.), January 10, 1968.

Lowens, Irving. “Ginastera’s Bomarzo Spectacular Triumph.” Washington Evening Star, May 20, 1967.

Lowens, Irving. “Ginastera’s Cantata Enchanting, Exciting.” Evening Star (Washington, D.C.), May 1, 1961.

Lowinsky, Edward. “Character and Purposes of American Musicology: A Reply to Joseph Kerman.” Journal of the American Musicological Society 18, no. 2 (1965): 222–34.

Lucie-Smith, Edward. Latin American Art of the 20th Century. 2nd ed. London: Thames & Hudson, 2004.

Macdonald, Dwight. “A Theory of Mass Culture.” In John Storey, ed., Cultural Theory and Popular Culture: A Reader. 2nd ed. Harlow, U.K.: Pearson Prentice Hall, 1994, 22–36.

Madrid, Alejandro L. Sounds of the Modern Nation: Music, Culture, and Ideas in Post-Revolutionary Mexico. Philadelphia: Temple University Press, 2009.

Madrid, Alejandro L., and Ignacio Corona, eds. Postnational Musical Identities: Cultural Production, Distribution, and Consumption in a Globalized Scenario. Lanham, Md.: Lexington Books, 2008.

Madsen, Jessica. “Music as Metaphor: A Study of the Political Inspiration behind Frederic Rzewski’s 36 Variations on ‘El Pueblo Unido Jamás Será Vencido!’ (The People United Will Never Be Defeated!), a Chilean Nueva Canción by Sergio Ortega and Quliapayún.” Doctor of Musical Arts document, University of Cincinnati, 2003.

Magaldi, Cristina. “Cosmopolitanism and World Music in Rio de Janeiro at the Turn of the Twentieth Century.” Musical Quarterly 92, nos. 3–4 (2009): 329–64.

Magaldi, Cristina. Music in Imperial Rio de Janeiro: European Culture in a Tropical Milieu. Lanham, Md.: Scarecrow Press, 2004.

Magaldi, Cristina. “Two Musical Representations of Brazil: Carlos Gomes and Villa-Lobos.” In Carmen Nava and Ludwig Lauerhass Jr., eds., Brazil in the Making: Facets of National Identity. Lanham, Md.: Rowman & Littlefield, 2006, 205–27.

Magdanz, Teresa. “‘Sobre las olas’: Cultural Synecdoche of the Past.” Journal of the Society for American Music 1, no. 3 (2007): 301–40.

Maltby, William S. The Black Legend in England: The Development of Anti-Spanish Sentiment, 1558–1660. Durham, N.C.: Duke University Press, 1971.

Manso, Carlos. Juan José Castro. Buenos Aires: De los Cuatro Vientos Editorial, 2006.

(p.265) Margles, Pamela. “Rzewski’s Music Has Moral Message.” Music Magazine 8, no. 1 (1985): 11–13.

Margrave, Wendell. “Current Chronicle.” Musical Quarterly 51, no. 2 (1965): 409–13.

Mariátegui, José Carlos. 7 Ensayos de interpretación de la realidad peruana. Montevideo: Ejido, 1928.

Mariz, Vasco. “César Guerra-Peixe (1914–1993).” Inter-American Music Review 14, no. 1 (1994–95): 169–70.

Mariz, Vasco. Cláudio Santoro. Rio de Janeiro: Civilização Brasileira, 1994.

Mariz, Vasco. Heitor Villa-Lobos. Rio de Janeiro: Zahar Editores, 1981.

Martí, José. Nuestra América. Nuestra mayúscula America series. Buenos Aires: Nuestra América Editorial, 2005.

Martí, José. “The Truth about the United States.” In Philip S. Foner, ed., Inside the Monster by José Martí: Writings on the United States and American Imperialism. Trans. Elinor Randall, Luis A. Baralt, Held Foner, and Juan de Onís. New York: Monthly Review Press, 1975, 49–54.

Martin, John. “The Dance: A Handicap Event.” New York Times, April 10, 1932.

Martin, John. “The Dance: A Mexican Ballet.” New York Times, March 27, 1932.

Martin, John. “The Dance: Social Satire.” New York Times, April 19, 1931.

Martin, John. “Mexican Ballet in World Premiere.” New York Times, April 1, 1932.

Martin, John. “Martha Graham in Hectic Recital.” New York Times, April 22, 1934.

Martin, Linton. “Ballet or Ballyhoo?” Philadelphia Inquirer, March 27, 1932.

Martin, Linton. “H.P. New Ballet Fantastic Affair.” Philadelphia Inquirer, April 1, 1932.

Martin, Linton. “Stokowski Bids His Audience ‘Good-by.’” Philadelphia Inquirer, November 24, 1928.

Marx, Burle. “Brazilian Portrait—Villa Lobos.” Modern Music 17, no. 1 (1939): 10–17.

Marx, Burle. Introduction to Festival of Brazilian Music. Program booklet. New York: MoMA, October 16–20, 1940, Programs 1–2, Program 3.

Marx, Leo. The Machine in the Garden: Technology and the Pastoral Ideal in America. New York: Oxford University Press, 1964.

Mason, Colin. “The Paris Festival.” Tempo 24 (Summer 1952): 12–13, 15–19.

Mayer-Serra, Otto. “Bibliografía.” Revista Musical Mexicana 9 (May 7, 1942): 208.

Mayer-Serra, Otto. “Carlos Chávez: Una monografía crítica.” Revista Musical Mexicana 3 (February 7, 1942): 62–63.

Mayer-Serra, Otto. Panorama de la música mexicana. Mexico City: El Colegio de México, 1942.

McCann, Bryan. Hello, Hello Brazil: Popular Music in the Making of Modern Brazil. Durham, N.C.: Duke University Press, 2004.

McClary, Susan. Georges Bizet: Carmen. Cambridge: Cambridge University Press, 1992.

McKenna, Marian. Myra Hess: A Portrait. London: Hamish Hamilton, 1976.

McLuhan, T. C. Dream Tracks: The Railroad and the American Indian, 1890–1930. New York: Harry N. Abrams, 1985.

McNapsy, Clement J. “Conquest or Inculturation: Ways of Ministry in Early Jesuit Missions.” In Kenneth Keulman, ed., Critical Moments in Religious History. Macon, Ga.: Mercer University Press, 1993, 77–94.

McPhee, Colin. “Forecast and Review.” Modern Music 13, no. 3 (1936): 41–46.

McPhee, Colin. “Jungles of Brazil.” Modern Music 18, no. 1 (1940): 41–43.

McPhee, Colin. “South American Once More.” Modern Music 17, no. 4 (1940): 245–46.

Mendoza, Vicente T. Lírica narrativa de México: El Corrido. Estudios de Folklore 2. Mexico City: Instituto de Investigaciones Estéticas and Universidad Nacional Autónoma, 1964.

(p.266) Melton, Laura. “Frederic Rzewski’s The People United Will Never Be Defeated!: An Analysis and Historical Perspective.” Doctor of Musical Arts document. Rice University, 1997.

Mertens, Wim. American Minimal Music. Trans. J. Hautekiet. London: Kahn & Averill, 1983.

Messing, Scott. Neoclassicism in Music from the Genesis of the Concept through the Schoenberg/Stravinsky Polemic. 1988. Rochester, N.Y.: University of Rochester Press, 1996.

“Mexican Art Show in Exhibition Here.” New York Times, October 14, 1930.

Meyer, Donald C. “Toscanini and the Good Neighbor Policy: The NBC Symphony Orchestra’s 1940 South American Tour.” American Music 18, no. 3 (2000): 233–56.

Miller, Nicola. “The Historiography of Nationalism and National Identity in Latin America.” Nations and Nationalism 12, no. 2 (2006): 201–21.

Miranda, Ricardo. Ecos, Alientos y Sonidos: Ensayos sobre Música Mexicana. Veracruz: Universidad Veracruzana and Fondo de Cultura Económica, 2001.

Mootz, William. “Critics Hear Orchestra and Open Workshop.” Courier-Journal, (Louisville, Ky.), October 8, 1955.

Morgan, Robert P. Twentieth-Century Music. New York: Norton, 1991.

Moricz, Klara. Jewish Identities: Nationalism, Racism, and Utopianism in Twentieth-Century Music. Berkeley: University of California Press, 2008.

Morris, Nancy. “‘Canto porque es necesario cantar’: The New Song Movement in Chile, 1973–1983.” Latin American Research Review 21, no. 2 (1986): 117–36.

Morris, William, ed. The American Heritage Dictionary of the English Language. Boston: American Heritage and Houghton Mifflin, 1969.

Moulard, Barbara L. Tabula Rasa: Art of the Mexican Viceroyalty. Mesa, Ariz.: Mesa Southwest Museum, 1988.

Mujica, Francisco. History of the Skyscraper. New York: Da Capo Press, 1977.

Mumford, Lewis. “Orozco in New England.” New Republic 80 (October 10, 1934): 231–35.

Munoz, Peggy. “Dallapiccola Program Stirs Controversy in Mexico City.” Musical America 77, no. 13 (1952): 6, 24.

Munro, Lisa. “Investigating World’s Fairs: An Historiography.” Studies in Latin American Popular Culture 28 (2010): 80–94.

Munson, Gorham. Waldo Frank: A Study. New York: Boni and Liveright, 1923.

Murphy, John P. Music in Brazil. New York: Oxford University Press, 2006.

Museu Villa-Lobos. Villa-Lobos, Sua Obra. Rio de Janeiro: Museu Villa-Lobos, 1965.

“Music in the Air.” New York Times, December 14, 1941.

“Music: Not for Squares.” Newsweek, May 28, 1967, 90.

Napp, Cornelia. Personal Representatives in Musikverlegerischerin Kulturbeziehungen: Die Vertretung von Heitor Villa-Lobos in den USA. Remagen-Rolandswerth, Germany: Max Brockhaus Musikverlag, 2003.

Neiburg, Federico, and Mariano Plotkin, compilers. Intelectuales y expertos: La constitución del conocimiento social en la Argentina. Buenos Aires: Paidós, 2004.

Nettl, Bruno. The Study of Ethnomusicology: Twenty-nine Issues and Concepts. Urbana: University of Illinois Press, 1983.

Neustadt, Robert. “Music as Memory and Torture: Sounds of Repression and Protest in Chile and Argentina.” Chasqui: Revista de literatura latinoamericana 33, no. 1 (2004): 128–37.

Neves, José María. Música contemporânea brasileira. São Paulo: Ricordi Brasileira, 1981.

“New Orchestra Opens Series at Popular Prices.” New York Herald Tribune, November 2, 1932.

(p.267) The New York World’s Fair Illustrated by Camera. New York: Manhattan Post Card Publishing, 1939.

Newton, Ronald C. The “Nazi Menace” in Argentina, 1931–1947. Stanford: Stanford University Press, 1992.

Nicholls, David. “Transethnicism and the American Experimental Tradition.” Musical Quarterly 80, no. 4 (1996): 569–94.

Ninkovitch, Frank A. The Diplomacy of Ideas: U.S. Foreign Policy and Cultural Relations, 1938–1950. Cambridge: Cambridge University Press, 1981.

“No deseamos lanzar un manifiesto.” Índice 12, no. 119 (1958): 28.

Noriega, Chon. “Citizen Chicano: The Trials and Titillations of Ethnicity in the American Cinema, 1935–1962.” In Clara E. Rodríguez, ed., Latin Looks: Images of Latinos and Latinas in the U.S. Media. Boulder, Colo.: Westview Press, 1997, 121–41.

Novak, Barbara. American Painting of the Nineteenth Century: Realism, Idealism and the American Experience. New York: Praeger, 1976.

Novo, Salvador. “Nueva York (Continente vacío).” In Toda la prosa. Mexico City: Empresas Editoriales, 1964, 231–35.

Nunes, Benedito. “Anthropophagic Utopia, Barbarian Metaphysics.” In Mari Carmen Ramírez and Héctor Olea, eds., Inverted Utopias: Avant-Garde Art in Latin America. New Haven: Yale University Press, 2004, 57–61.

Oboler, Suzanne. “‘So Far from God, So Close to the United States’: The Roots of Hispanic Homogenization.” In Mary Romero, Pierette Hondagneu-Sotelo, and Vilma Ortíz, eds., Challenging Fronteras: Structuring Latina and Latino Lives in the U.S. New York: Routledge, 1997, 31–54.

O’Brien, Eileen. The Racial Middle: Latinos and Asian Americans Living beyond the Racial Divide. New York: New York University Press, 2008.

O’Connell, Patrick L. “Narrating History through Memory in Three Novels of Post-Pinochet Chile.” Hispania 84, no. 2 (2001): 181–92.

O’Connor, Francis V. “The Usable Future: The Role of Fantasy in the Promotion of a Consumer Society for Art.” In Helen A. Harrison, ed., Dawn of a New Day. New York: Queens Museum, 1980, 57–71.

Oedipus Rex Gets American Premiere: Special to the New York Times.” New York Times, April 11, 1931.

O’Gorman, Edward. “Philharmonic in Brazilian Program at World’s Fair.” New York Post, May 5, 1939.

Oja, Carol J. “Bernstein Meets Broadway: Race, the Blues, and On the Town (1944).” AMS–Library of Congress Lecture Series. February 7, 2011, http://www.ams-net.org/LC-lectures.

Oja, Carol J. “The Copland-Sessions Concerts and Their Reception in the Contemporary Press.” Musical Quarterly 65, no. 2 (1979): 212–29.

Oja, Carol J. Making Music Modern. New York: Oxford University Press, 2000.

Olmstead, Andrea. “The Copland-Sessions Letters.” Tempo 175 (1990): 2–5.

Olmstead, Andrea. The Correspondence of Roger Sessions. Boston: Northeastern University Press, 1992.

Olsen, Dale A., and Daniel E. Sheehy, eds. South America, Mexico, Central America, and the Caribbean: Garland Encyclopedia of World Music. Vol. 2. New York: Garland, 1998.

O’Neil, Brian. “The Demands of Authenticity: Addison Durland and Hollywood’s Latin Images During World War II.” In Daniel Bernardi, ed., Classic Hollywood, Classic Whiteness. Minneapolis: University of Minnesota Press, 2001, 359–85.

(p.268) Orbón, Julián. “Las Sinfonías de Carlos Chávez.” In Julio Estrada, ed., En la escencia de los estilos y otros ensayos. Madrid: Colibrí, 2000, 148–58.

“Organize to Foster Artistry in Mexico.” New York Times, December 10, 1930.

Orozco, Gilberto. Tradiciones y leyendas del Istmo de Tehuantepec. Mexico City: Revista Musical Mexicana, 1946.

Orrego-Salas, Juan. “La nueva canción chilena: Tradición, espíritu y contendio de su música.” Literatura chilena en el exilio 4, no. 2 (1980): 2–7.

Orrego-Salas, Juan. “The Young Generation of Latin American Composers: Background and Perspectives.” Inter-American Music Bulletin 38 (1963): 1–10.

Pach, Walter. “The Art of the American Indian.” Dial 68 (January 1920): 57–66.

Pach, Walter. “The Greatest American Artists.” Harper’s Magazine 148, no. 884 (1924): 252–62.

Packenham, Robert A. The Dependency Movement: Scholarship and Politics in Development Studies. Cambridge: Harvard University Press, 1992.

Packenham, Robert A. Liberal America and the Third World. Princeton: Princeton University Press, 1973.

Palmer, Steven. “Central American Encounters with Rockefeller: 1914–1921.” In Gilbert M. Joseph, Catharine C. LeGrand, and Ricardo D. Salvatore eds., Close Encounters of Empire: Writing the Cultural History of U.S.–Latin American Relations. Durham, N.C.: Duke University Press, 1998, 311–32.

Paoli, Domenico de, Leigh Henry, Leonide Sbaneyeff, et al. Lazare Saminsky: Composer and Civic Worker. New York: Bloch, 1930.

Parakilas, James. “How Spain Got a Soul.” In Jonathan Bellman, ed., The Exotic in Western Music. Boston: Northeastern University Press, 1998, 137–93.

Paraskevaídis, Graciela “Algunas reflexiones sobre música y dictadura en América Latina.” October 2008, www.gp-magma.net/pdf/txt_e/sitio-MusyDicfinal2008.pdf.

Paraskevaídis, Graciela. “Edgar [sic] Varèse y su relación con músicos e intelectuales latinoamericanos de su tiempo: Algunas historias en redondo.” Revista Musical Chilena 56, no. 198 (2002): 7–20.

Paraskevaídis, Graciela. “Música dodecafónica y serialismo en America Latina.” La del taller, April–May 1985, 21–27, http://www.latinoamerica-musica.net/historia/para-dodecafonica.html#referencias. Translated in “An Introduction to Twelve-Tone Music and Serialism in Latin America,” Interface 13 (Netherlands) (1984–85): 133–47.

Parker, Robert L. Carlos Chávez: Mexico’s Modern-Day Orpheus. Boston: Twayne, 1983.

Parker, Robert L. “Carlos Chávez and the Ballet: A Study in Persistence,” Dance Chronicle 8, nos. 3–4 (1985): 179–210.

Parker, Robert L. “Carlos Chávez’s Aztec Ballets.” Choreography and Dance 3, no. 4 (1994): 81–87.

Parker, Robert L. “Copland and Chávez: Brothers-in-Arms.” American Music 5, no. 4 (1987): 433–44.

Parker, Robert L. “De música incidental a sinfonía: La Antígona de Chávez.” Heterofonía 113 (July–September 1995): 4–12.

Parker, Robert L. “A Recurring Melodic Cell in the Music of Carlos Chávez.” Latin American Music Review 12, no. 2 (1991): 160–72.

Party, Daniel. “Beyond ‘Protest Song’: Popular Music in Pinochet’s Chile (1973–1990).” In Roberto Illiano and Massimiliano Sala, eds., Music and Dictatorship in Europe and Latin America. Turnhout, Belgium: Brephols, 2009, 671–84; http://sites.google.com/site/dparty/publications-1/beyondprotest.

Patrick, Corbin. “Sevitzky’s Current Bill Features Crisp Playing.” Indianapolis Star, January 25, 1954.

Paul, David C. “From American Ethnographer to Cold War Icon: Charles Ives through the Eyes of Henry and Sidney Cowell.” Journal of the American Musicological Society 59, no. 2 (2006): 399–457.

(p.269) Payne, Alyson. “Creating Music of the Americas During the Cold War: Alberto Ginastera and the Inter-American Music Festivals.” Music Research Forum 22 (2007): 57–79.

Paz, Juan Carlos. “Bach y la música de hoy.” Sur 17 (February 1936): 77–82.

Paz, Juan Carlos. La Música en los Estados Unidos. Mexico City: Fondo de Cultura Económica, 1952.

Pease, Allison. Modernism, Mass Culture, and the Aesthetics of Obscenity. Cambridge: Cambridge University Press, 2000.

Pellettieri, Osvaldo. Cien años de teatro argentino: 1886–1990. Buenos Aires: Galerna, Instituto Internacional de Teoría y Crítica de Teatro Latinoamericano, 1991.

Peppercorn, Lisa. “Some Aspects of Villa-Lobos’ Principles of Composition.” Music Review 4, no. 1 (1943): 28–34.

Peppercorn, Lisa. “Villa-Lobos ‘Ben Trovato.’” Tempo, no. 177 (June 1991): 32–35, 38–39.

Peppercorn, Lisa. The World of Villa-Lobos in Pictures and Documents. Aldershot, U.K.: Scolar Press, 1996.

Pérez Firmat, Gustavo. “Latunes: An Introduction.” Latin American Research Review 43, no. 2 (2008): 180–203.

Pérez-Torres, Rafael. “Mestizaje in the Mix: Chicano Identity, Cultural Politics, and Postmodern Music.” In Ronald Radano and Philip V. Bohlman, eds., Music and the Racial Imagination. Chicago: University of Chicago Press, 2000, 206–30.

Perkins, Francis D. “Brazil’s Music Is Interpreted by Rubinstein.” New York Herald Tribune, October 21, 1940.

Perkins, Francis D. “Carlos Chávez Directs First of 6 Concerts.” New York Herald Tribune, February 12, 1937.

Perkins, Francis D. “Music.” New York Herald Tribune, April 18, 1940.

Perkins, Francis D. “NBC Symphony Concert Led by Boult, of BBC.” New York Herald Tribune, May 15, 1938.

Perkins, Francis D. “Philharmonic Plays Brazilian Music at Fair.” New York Herald Tribune, May 5, 1939.

Pernet, Corinne A. “For the Genuine Culture of the Americas.” In Jessica C. E. Gienow-Hecht, ed., Decentering America. New York: Berghahn Books, 2007, 132–68.

Peyser, Joan. The Memory of All That: The Life of George Gershwin. New York: Simon & Schuster, 1993.

“Philadelphia Hears Premieres of Works by Antheil and Chávez.” Musical America 52, no. 6 (1932): 27.

Pickard, John. Review [Untitled]. Tempo, n.s. no. 210 (October 1999): 47–48.

Pike, Frederick B. The United States and Latin America: Myths and Stereotypes of Civilization and Nature. Austin: University of Texas Press, 1992.

Pisani, Michael V. Imagining Native America in Music. New Haven: Yale University Press, 2005.

Plotkin, Mariano Ben. Freud in the Pampas: The Emergence and Development of Psychoanalytic Culture in Argentina. Stanford: Stanford University Press, 2001.

Podalsky, Laura. “Patterns of the Primitive: Sergei Eisenstein’s Que Viva México!” In John King, Ana M. López, and Manuel Alvardo, eds., Mediating Two Worlds. London: BFI, 1993, 25–39.

Pollack, Howard. Aaron Copland: The Life and Work of an Uncommon Man. New York: Henry Holt, 1999.

Pollack, Howard. George Gershwin: His Life and Work. Berkeley: University of California Press, 2006.

Pollack, Howard. Harvard Composers: Walter Piston and His Students from Elliot Carter to Frederic Rzewski. Metuchen, N.J.: Scarecrow Press, 1992.

Ponce, Manuel. “S.M. el Fox.” México Moderno 1, no. 9 (1921): 180–81.

(p.270) Poovey, Mary. “Accommodating Merchants: Accounting, Civility, and the Natural Laws of Gender.” differences 8, no. 3 (1996): 1–20.

Porter, Andrew. “Musical Events Most Select and Generous.” New Yorker, December 7, 1987, 155–56, 162–64.

Potter, Pamela M. “From Jewish Exile in Germany to German Scholar in America: Alfred Einstein’s Emigration.” In Reinhold Brinkmann and Christoph Wolff, eds., Driven into Paradise: The Musical Migration from Nazi Germany to the United States. Berkeley: University of California Press, 1999, 298–321.

Potter, Pamela M. Most German of the Arts: Musicology and Society from the Weimar Republic to the End of Hitler’s Reich. New Haven: Yale University Press, 1998.

Pound, Ezra. Personae: The Collected Poems of Ezra Pound. New York: New Directions, 1926.

Powell, Philip. Tree of Hate: Propaganda and Prejudices Affecting United States Relations with the Hispanic World. New York: Basic Books, 1971.

“The Programs of the Week.” New York Times, December 8, 1946.

Prunières, Henri. “Les Concerts: Oeuvres de Villa-Lobos.” La Revue Musicale 9, no. 3 (1928): 258–59.

Prutsch, Ursula. Creating Good Neighbors? Die Kultur- und Wirtschaftspolitik der USA in Lateinamerika, 1940–1946. Stuttgart: Franz Steiner Verlag, 2008.

Puri, Michael J. “Dandy Interrupted: Sublimation, Repression, and Self-Portraiture in Maurice Ravel’s Daphnis et Chloé (1909–1912).” Journal of the American Musicological Society 59, no. 2 (2006): 488–501.

Quirk, Tom. Bergson and American Culture: The Worlds of Willa Cather and Wallace Stevens. Chapel Hill: University of North Carolina Press, 1990.

Rabe, Stephen G. Eisenhower and Latin America: The Foreign Policy of Anti-Communism. Chapel Hill: University of North Carolina Press, 1988.

Radano, Ronald, and Philip V. Bohlman, eds. Introduction to Music and the Racial Imagination. Chicago: University of Chicago Press, 2000.

Radice, Mark A. “‘Futurismo’: Its Origins, Context, Repertory, and Influence.” Musical Quarterly 73, no. 1 (1989): 1–17.

“Radio Concerts.” New York Times, February 24, 1946.

Radway, Janice. “What’s in a Name? Presidential Address to the American Studies Association, November 20, 1998.” American Quarterly 51 (1999): 1–32.

Ramírez, Mari Carmen. “A Highly Topical Utopia: Some Outstanding Features of the Avant-Garde in Latin America.” In Mari Carmen Ramírez and Héctor Olea, eds., Inverted Utopias: Avant-Garde Art in Latin America. New Haven: Yale University Press, 2004, 1–15.

Ramirez Berg, Charles. “Stereotyping and Resistance: A Crash Course on Hollywood’s Latino Imagery.” In Chon A. Noriega, ed., The Future of Latino Independent Media: A NALIP Sourcebook. Los Angeles: UCLA Chicano Studies Research Center, 2000, 3–14.

Ramos, Julio. Divergent Modernities: Culture and Politics in Nineteenth-Century Latin America. Trans. John D. Blanco. Durham, N.C.: Duke University Press, 2001.

Raymond, Gregory A. Salvador Allende and the Peaceful Road to Socialism. Pew Case Studies in International Affairs, Case 451, part A. Washington, D.C.: Georgetown University Institute for the Study of Diplomacy, 1992.

Redfield, Robert. Tepotzlan: A Mexican Village. Chicago: University of Chicago Press, 1930.

(p.271) Reich, Steve. Writings about Music. Halifax: Press of the Nova Scotia College of Art and Design and New York University Press, 1976.

Reid, John T. “The Rise and Decline of the Ariel-Caliban Antithesis in Spanish America.” Americas 34 (1977–78): 345–55.

Reiman, Karen Cordero. “Prometheus Unraveled: Readings of and from the Body. Orozco’s Pomona College Mural.” In Renato González Mello and Diane Miliotes, eds., José Clemente Orozco in the United States, 19271934. Hanover, N.H.: Hood Museum of Art, 2002, 98–117.

Reiss, Robert. “‘H.P.’ Presentation Is Swell Occasion but Lacks Timely Proletarian Touch.” Philadelphia Record, April 1, 1932.

“Report on the Teaching of Latin American History.” Bulletin of the Pan American Union 61 (June 1927): 547–51.

“Resolución Final del Encuentro de la Canción Protesta.” Casa de las Américas 45 (November–December 1967): 143–44.

Reuss, Richard A., and JoAnne C. Reuss. American Folk Music and Left-Wing Politics, 1927–1957. Lanham, Md.: Scarecrow Press, 2000.

“Review of 1939 New York World’s Fair.” Architectural Review 86 (August 1939): 54–92.

Revilla, Manuel G. El arte en México. 2nd ed. Mexico City: Librería Universal de Porrua Hermanos, 1923.

“Reviving Mayan Architecture.” New York Times, January 30, 1927.

Rey García, Marta. Stars for Spain: La guerra civil española en los Estados Unidos. A Coruña, Spain: Edicios do Castro, 1997.

Reyes, Luis, and Peter Rube. Hispanics in Hollywood: A Celebration of 100 Years in Film and Television. Hollywood: Lone Eagle, 2000.

Reyes Matta, Fernando. “The ‘New Song’ and Its Confrontation in Latin America.” In Cary Nelson and Lawrence Grossberg, eds., Marxism and the Interpretation of Culture. Urbana: University of Illinois Press, 1998, 447–60.

Reynolds, Christopher A. Motives for Allusion: Context and Content in Nineteenth-Century Music. Cambridge: Harvard University Press, 2003.

Reynolds, Christopher A. “Porgy and Bess: ‘An American Wozzeck.’” Journal of the Society for American Music 1, no. 1 (2007): 1–28.

Rickover, Hyman G. How the “Maine” Was Destroyed. Washington, D.C.: Department of the Navy, 1976.

Ricoeur, Paul. Memory, History, Forgetting. Trans. Kathleen Blamey and David Pallauer. Chicago: University of Chicago Press, 2004.

Rink, Jonathan. “Opposition and Integration in the Piano Music.” In Michael Musgrave, ed., The Cambridge Companion to Brahms. Cambridge: Cambridge University Press, 1999, 79–97.

Rios, Fernando. “Bolero Trios, Mestizo Panpipe Ensembles, and Bolivia’s 1952 Revolution: Urban La Paz Musicians and the Nationalist Revolutionary Movement.” Ethnomusicology 54, no. 2 (2010): 281–318.

Rivas, Darlene. Missionary Capitalist: Nelson Rockefeller in Venezuela. Chapel Hill: University of North Carolina Press, 2002.

Rivera, Diego. “Dynamic Detroit—An Interpretation.” Creative Art 12, no. 4 (1933): 289–95.

Rivera, Diego. Arte y política. Ed. Raquel Tibol. Mexico City: Editorial Grijalbo, 1979.

R.L. “Novelties Played by Orchestrette.” New York Times, May 4, 1943.

(p.272) Roa Bárcena, José María. The View from Chapultepec: Mexican Writers on the Mexican-American War. Trans. Cecil Robinson. Tucson: University of Arizona Press, 1989.

Robbins, Bruce. “Introduction: Part I: Actually Existing Cosmopolitanism.” In Pheng Cheah and Bruce Robbins, eds., Cosmopolitics: Thinking and Feeling beyond the Nation. Minneapolis: University of Minnesota Press, 1998, 1–19.

Roberts, John Storm. The Latin Tinge: The Impact of Latin American Music on the United States. 2nd ed. New York: Oxford University Press, 1999.

Roberts, Shari. “‘The Lady in the Tutti-Frutti Hat’: Carmen Miranda, a Spectacle of Ethnicity.” In Steven Cohan, ed., Hollywood Musicals: The Film Reader. London: Routledge, 2002, 143–53.

Robertson, Nan. “Bomarzo: Sex, Violence, Hallucination.” New York Times, May 28, 1967.

Robinson, Suzanne. “‘A Ping, Qualified by a Thud’: Music Criticism in Manhattan and the Case of Cage (1943–58).” Journal of the Society for American Music 1, no. 1 (2007): 79–139.

Rockwell, John. All American Music: Composition in the Late Twentieth Century. New York: Knopf, 1983.

Rockwell, John. “The Pop Life.” New York Times, November 18, 1977.

Rodó, José Enrique. Ariel. Trans. Margaret Sayers Peden. Austin: University of Texas Press, 1988.

Rodríguez, Antonio. Guia de los murales de Diego Rivera en la Secretaría de Educación Pública. Mexico City: Secretaría de Educación Pública, 1984.

Rodríguez, Clara E. Changing Race: Latinos, the Census, and the History of Ethnicity in the United States. New York: New York University Press, 2000.

Roosevelt, Theodore. Theodor Roosevelt: An Autobiography with Illustrations. 1913. New York: Charles Scribner’s Sons, 1920.

Root, Deane L. “The Pan American Association of Composers (1928–1934).” Yearbook for Inter-American Musical Research 8 (1972): 49–70.

Ros-Fábregas, Emilio. “Nicolas Slonimsky (1894–1995) y sus escritos sobre música en Latinoamérica: Reivindicación de un ‘fishing trip.’” In María Gembero Ustárroz and Emilio Ros-Fábregas, eds., La Música y el Atlántico: Relaciones musicales entre España y Latinoamérica. Granada: University of Granada, 2007, 153–80.

Rosen, Charles. “Influence: Plagiarism and Inspiration.” 19th-Century Music 4, no. 2 (1980): 87–100.

Rosenberg, Emily S. Financial Missionaries to the World: The Politics and Culture of Dollar Diplomacy, 1900–1930. Cambridge: Harvard University Press, 1999.

Rosenberg, Emily S Spreading the American Dream: American Economic and Cultural Expansion, 1890–1945. New York: Hill and Wang, 1982.

Rosenberg, Emily S. “Turning to Culture.” In Gilbert M. Joseph, Catherine C. LeGrand, and Ricardo Salvatore, eds., Close Encounters of Empire. Durham, N.C.: Duke University Press, 1998, 497–514.

Rosenfeld, Paul. “Aaron Copland’s Growth.” New Republic 67 (May 27, 1931): 46–47.

Rosenfeld, Paul. “American Composers, VIII: Carlos Chávez.” Modern Music, May–June 1932, 153–59.

Rosenfeld, Paul. “American Premieres.” New Republic 70 (April 20, 1932): 273–74.

Rosenfeld, Paul. “Bach Conquers Musical America.” American Mercury 50, no. 199 (1940): 314–19.

Rosenfeld, Paul. By Way of Art. 1928. Freeport, N.Y.: Books for Libraries Press, 1967.

Rosenfeld, Paul. “Current Chronicle: Szymanowski—Villa Lobos.” Musical Quarterly 25, no. 4 (1939): 513–18.

Rosenfeld, Paul. “D. H. Lawrence.” New Republic 32 (September 27, 1922): 125–26.

(p.273) Rosenfeld, Paul. Discoveries of a Music Critic. New York: Harcourt, Brace, 1936.

Rosenfeld, Paul. “Folksong and Cultural Politics.” Modern Music 17, no. 1 (1939): 18–24.

Rosenfeld, Paul. An Hour with American Music. Philadelphia: Lippincott, 1929.

Rosenfeld, Paul. “Musical Chronicle.” Dial 82 (February 1927): 175–77.

Rosenfeld, Paul. “Neo-Classicism and Paul Hindemith.” New Republic 62 (April 2, 1930): 193–94.

Rosenfeld, Paul. “The New American Music,” Scribner’s Magazine, 89, no. 6 (1931): 624–32.

Rowe, William, and Vivian Schelling. Memory and Modernity: Popular Culture in Latin America. London: Verso, 1991.

Rowland, Donald W. History of the Office of the Coordinator of Inter-American Affairs. Washington, D.C.: Government Printing Office, 1947.

Rozwenc, Edwin C. “Edmundo O’Gorman and the Idea of America.” American Quarterly 10, no. 2, part 1 (1958): 99–115.

R.P. “Work by Berlioz Heard at Concert.” New York Times, February 22, 1957.

Rubio, Héctor, et al. La música en el Di Tella: Resonancias de la modernidad. Buenos Aires: Secretaria de la Cultura, 2011.

Ruitenbeek, Hendrik M. Freud and America. New York: Macmillan, 1966.

Ruitenbeek, Hendrik M., ed. Varieties of Personality Theory. New York: Dutton, 1964.

Rumpf, Stephen. “A Kingdom Not of This World: The Political Context of E. T. A. Hoffmann’s Beethoven Criticism.” 19th-Century Music 19, no. 1 (1995): 50–67.

Runciman, W. G., ed. Max Weber: Selections in Translation. Cambridge: Cambridge University Press, 1978.

Russell, Craig H. From Serra to Sancho: Music and Pageantry in the California Missions. Currents in Latin American and Iberian Music. Ed. Walter A. Clark. New York: Oxford University Press, 2009.

Ryan, James G. Earl Browder: The Failure of American Communism. 2nd ed. Tuscaloosa: University of Alabama Press, 2005.

Rydell, Robert. World of Fairs: The Century of Progress Expositions. Chicago: University of Chicago Press, 1993.

S. “Works of Latin Americans Heard.” Musical America 53, no. 17 (1933): 27, 29.

Saavedra, Leonora. “The American Composer in the 1930s: The Social Thought of Seeger and Chávez.” In Bell Yung and Helen Rees, eds., Understanding Charles Seeger: Pioneer in American Musicology. Urbana: University of Illinois Press, 1999, 29–63.

Saavedra, Leonora. “Los escritos periodísticos de Carlos Chávez: Una fuente para la historia de la música en México.” Inter-American Music Review 10, no. 2 (1989): 77–91.

Saavedra, Leonora. “Of Selves and Others: Historiography, Ideology, and the Politics of Modern Mexican Music.” Ph.D. diss., University of Pittsburgh, 2001.

Sabin, Robert. “Villa-Lobos, Man of Action, Pays First Visit to U.S.” Musical America 65, no. 1 (1945): 7.

Saborit, Antonio. “Mexican Gaities: Carlos Chávez en la Babilonia de hierro.” In Yael Bitrán and Ricardo Miranda, eds., Diálogo de resplendores: Carlos Chávez y Silvestre Revueltas. Mexico City: Teoría y Práctica del Arte, 2002, 139–58.

Safire, William. Safire’s Political Dictionary. 1993. New York: Oxford University Press, 2008.

Said, Edward. Culture and Imperialism. New York: Vintage Books, 1993.

Salvatore, Ricardo D. Imágenes de un imperio: Estados Unidos y las formas de representación de América Latina. Buenos Aires: Editorial Sudamericana, 2006.

Salzman, Eric. “Eartha Kitt Sings Stadium Program.” New York Times, July 11, 1960.

Salzman, Eric. “Modern Music in Retrospect.” Perspectives of New Music 2, no. 2 (1964): 14–20.

Salzman, Eric. “Peripatetic Philharmonic.” New York Herald Tribune, October 4, 1963.

(p.274) Salzman, Eric. “Records: Chávez.” New York Times, April 17, 1960.

Samaroff, Olga. “Music.” New York Evening Post, November 29, 1926.

Saminsky, Lazare. “In the Argentine.” Modern Music 18, no. 1 (1940): 31–36.

Saminsky, Lazare. Living Music of the Americas. New York: Howell, Soskin and Crown, 1949.

Saminsky, Lazare. “South American Report.” New York Times, September 8, 1940.

San Juan, Epifanio. Beyond Postcolonial Theory. New York: St. Martin’s Press, 1998.

Sanborn, Pitts. “Boston Orchestra Honors Composer.” New York World-Telegram, November 19, 1938.

Sanborn, Pitts. “Gershwin Sets Mark in Stadium: Draws 21,000 Musical Persons to Concert All His Own.” New York World-Telegram, August 17, 1932.

Sanborn, Pitts. “Honors of the Season.” League of Composers Review 1, no. 2 (1924): 3–8.

Sandoval Sánchez, Alberto. “West Side Story: A Puerto Rican Reading of ‘America.’” In Clara E. Rodríguez, ed., Latin Looks: Images of Latinos and Latinas in the U.S. Media. Boulder, Colo.: Westview Press, 1997, 164–79.

Santa Cruz, Domingo. “Prólogo para Gustavo Bercera, músico de su tiempo.” Revista Musical Chilena 26, nos. 119–20 (1972): 4–7.

Santomasso, Eugene A. “The Design of Reason: Architecture and Planning at the 1939/40 New York World’s Fair.” In Helen A. Harrison, ed., Dawn of a New Day. New York: Queens Museum, 1980, 29–41.

Sapir, Edward. Selected Writings of Edward Sapir in Language, Culture, and Personality. Ed. D. G. Mandelbaum. Berkeley: University of California Press, 1949.

Sargeant, Winthrop. “Musical Events: Spooked Duke.” New Yorker, March 23, 1968, 126.

Saunders, Frances Stonor. The Cultural Cold War: The CIA and the World of Arts and Letters. New York: New Press, 1999.

Scarabino, Guillermo. Alberto Ginastera: Técnicas y Estilo (1935–1950). Buenos Aires: Instituto de Investigación Musicológica Carlos Vega, 1996.

Scarabino, Guillermo. El Grupo Renovación (1929–1944) y la “nueva música” en la Argentina del siglo XX. Buenos Aires: Ediciones de la Universidad Católica Argentina, 1999.

Schacter, Daniel L. The Seven Sins of Memory. Boston: Houghton Mifflin, 2001.

Schallert, Edwin. “Huge Ovation for Rodzinski.” Los Angeles Times, July 30, 1931.

Schebera, Jürgen. Kurt Weill: An Illustrated Life. New Haven: Yale University Press, 1995.

Schechter, John M., ed. Music in Latin American Culture: Regional Traditions. New York: Schirmer Books, 1999.

Schlesinger, Stephen C. Bitter Fruit: The Story of the American Coup in Guatemala. Cambridge: Harvard University Press, 1982.

Schmidt, Henry C. The Roots of “Lo Mexicano”: Self and Society in Mexican Thought, 1900–1934. College Station: Texas A&M University Press, 1978.

Schmitz, Nancy Brooks. “A Profile of Catherine Littlefield: A Pioneer of American Ballet.” Ph.D. diss., Temple University, 1986.

Schobeß, Rainer. “Review: Bernard Bessière, La nouvelle Chanson chilienne en exil (1980).” Jahrbuch für Volksliedforschung 30 (1985): 205–6.

Schonberg, Harold C. “Bomarzo: Once the Shock Value, Such As It Is, Has Worn Off …” New York Times, March 24, 1968.

Schonberg, Harold C. “Music: City Opera Company Sparkles in Its Rich, New Setting.” New York Times, February 23, 1966.

Schonberg, Harold C. “Music: Some Moderns.” New York Times, December 15, 1978.

Schonberg, Harold C. “The Opera: Ginastera’s Not-So-Wicked Bomarzo Arrives Here.” New York Times, March 15, 1968.

(p.275) Schonberg, Harold C. “7 Modern Works Heard in South.” New York Times, October 10, 1955.

Schopenhauer, Arthur. The World as Will and Representation. 2 vols. Trans. E. F. J. Payne. New York: Dover, 1966.

Schumann, Robert. On Music and Musicians. Ed. Konrad Wolff. Trans. Paul Rosenfeld. New York: Norton, 1946.

Schwartz, Charles. Gershwin: His Life and Music. Indianapolis: Bobbs-Merrill, 1973.

Schwartz, David. “Postmodernism, the Subject, and the Real in John Adams’s Nixon in China.” Indiana Theory Review 13, no. 2 (1992): 107–35.

Schwartz, K. Robert. “Steve Reich: Music as a Gradual Process.” Perspectives of New Music 19 (1980–81): 373–92.

Schwartz, Rosalie. Flying Down to Rio: Hollywood, Tourists, and Yankee Clippers. College Station: Texas A&M University Press, 2004.

Schwartz-Kates, Deborah. Alberto Ginastera: A Research and Information Guide. New York: Routledge, 2010.

Schwartz-Kates, Deborah. “Alberto Ginastera, Argentine Cultural Construction, and the Gauchesco Tradition.” Musical Quarterly 86, no. 2 (2002): 248–81.

Schwartz-Kates, Deborah. “The Correspondence of Alberto Ginastera at the Library of Congress.” Notes 68, no. 2 (2011): 284–312.

Schwartz-Kates, Deborah. “The Gauchesco Tradition as a Source of National Identity in Argentine Art Music (ca. 1890–1955).” Ph.D. diss., University of Texas at Austin, 1997.

Schwartz-Kates, Deborah. “Ginastera, Alberto (Evaristo).” Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/grove/music/11159 (accessed April 13, 2010).

Schweitzer, Vivien. “Donizetti Returns, Offering Plenty of Chemistry and Nine High C’s.” New York Times, February 8, 2010.

Schwerké, Irving. “A Brazilian Rabelais.” League of Composers’ Review 2, no. 1 (1925): 28–30.

Seeger, Charles. “Grass Roots for American Composers.” Modern Music 16, no. 3 (1939): 143–49.

Seeger, Charles. “On Proletarian Music.” Modern Music 11, no. 3 (1934): 121–27.

Segal, Howard. “Utopian Fairs.” Chicago History 12, no. 3 (1983): 7–9.

Seldes, Gilbert. The Seven Lively Arts. New York: A. S. Barnes, 1962.

Seldes, Gilbert. “Thompson’s Panorama, the Woolworth Building, and Do It Now: Can a Purely American Art Be Created out of These Elements?” Vanity Fair, December 1924, 39, 108, 118.

Sessions, Roger. “Music and Nationalism: Some Notes on Dr. Göbbel’s Letter to Furtwängler.” Modern Music 11, no. 1 (1933): 3–12.

Sessions, Roger. “On the American Future.” Modern Music 17, no. 2 (1940): 71–75.

Seton, Marie. Sergei Eisenstein. New York: Grove Press, 1960.

“Sex and the Strait-Laced Strongman.” Time, August 18, 1967, 33.

Shale, Richard. Donald Duck Joins Up: The Walt Disney Studio During World War II. Ann Arbor, Mich.: UMI Research Press, 1987.

Shaw, Lisa. The Social History of Brazilian Samba. Aldershot, U.K.: Ashgate, 1999.

Shaw, Lisa. “Vargas on Film: From the Newsreel to the Chanchada.” In Jens R. Hentschke, ed. Vargas and Brazil: New Perspectives. New York: Palgrave Macmillan, 2006, 208–25.

Sheehy, Daniel. Mariachi Music in America. New York: Oxford University Press, 2006.

Shepard, John. “The Legacy of Carleton Sprague Smith: Pan-American Holdings in the Music Division of the New York Public Library for the Performing Arts.” Notes (second series) 62, no. 3 (2006): 621–62.

(p.276) Sherman, Robert. “Politics and Music by Chilean Group.” New York Times, March 23, 1975.

Shreffler, Anne C. “Ideologies of Serialism.” In Karol Berger and Anthony Newcomb, eds., Music and the Aesthetics of Modernity. Cambridge: Harvard Publications in Music, 2005, 217–45.

Shreffler, Anne C. “The Myth of Empirical Historiography: A Response to Joseph N. Straus.” Musical Quarterly 82, no. 1 (2000): 30–39.

Shumway, Nicolas. The Invention of Argentina. Berkeley: University of California Press, 1991.

Sigmund, Paul E. The Overthrow of Allende and Politics of Chile, 1964–1976. Pittsburgh: University of Pittsburgh Press, 1977.

Silet, Charles L. P. The Writings of Paul Rosenfeld. New York: Garland, 1981.

Simms, Bryan. Music of the Twentieth Century. New York: Schirmer Books, 1986.

Siqueiros, David Alfaro. “Rivera’s Counter-Revolutionary Road.” New Masses 11, no. 9 (1934): 16–19.

Sisman, Elaine. “Memory and Invention at the Threshold of Beethoven’s Late Style.” In Scott Burnham and Michael P. Steinberg, eds., Beethoven and His World. Princeton: Princeton University Press, 2000, pp. 51–87.

Sisman, Elaine. “Variations.” Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/grove/music/29050 (accessed July 12, 2010).

Skidmore, Thomas E., and Peter H. Smith. Modern Latin America. 5th ed. New York: Oxford University Press, 2001.

Skinner, Thomas E. Black into White: Race and Nationality in Brazilian Thought. New York: Oxford University Press, 1974.

Slonimsky, Nicolas. Music of Latin America. New York: Thomas Y. Crowell, 1945.

Slonimsky, Nicolas. “A Visit with Villa-Lobos.” Musical America 61, no. 15 (1941): 7, 10.

Smith, Amanda. Interview with Alexis Dolinoff. May 1979. Typescript, MGZMT 5–670, New York Public Library, Dance Division.

Smith, Carleton Sprague. “Alberto Ginastera’s ‘Duo for Flute and Oboe.’” Latin American Music Review 6, no. 1 (1985): 85–93.

Smith, Carleton Sprague. “The Composers of Chile.” Modern Music 19, no. 1 (1941): 26–31.

Smith, Carleton Sprague. “Music Libraries in South America.” Notes 11 (1941): 19–31.

Smith, Carleton Sprague. “Song of Brazil.” Américas 2, no. 10 (1950): 14–16, 43–44.

Smith, Carleton Sprague. “What Not to Expect in South America.” Musical America 61, no. 3 (1941): 217, 220.

Smith, Catherine Parsons. “‘A Distinguishing Virility’: Feminism and Modernism in American Art Music.” In Susan C. Cook and Judy S. Tsou, eds., Cecilia Reclaimed: Feminist Perspectives on Gender and Music. Urbana: University of Illinois Press, 1994, 90–106.

Smith, Catherine Parsons. William Grant Still. Urbana: University of Illinois Press, 2008.

Smith, Henry Nash. Virgin Land: The American West as Symbol and Myth. 1950. Cambridge: Harvard University Press, 1970.

Smith, Julia. Aaron Copland: His Work and Contribution to American Music. New York: Dutton, 1955.

Smoodin, Eric. Animating Culture: Hollywood Cartoons from the Sound Era. New Brunswick, N.J.: Rutgers University Press, 1993.

Soames, Wood. “Magdalena Superb Opera by Top Cast.” Oakland Tribune, n.d. New York Public Library clippings file.

Solberg, Carl. Hubert Humphrey: A Biography. New York: Norton, 1984.

Solie, Ruth A. “The Living Work: Organicism and Musical Analysis.” 19th-Century Music 4, no. 2 (1980): 147–56.

Solie, Ruth A., ed. Musicology and Difference: Gender and Sexuality in Music Scholarship. Berkeley: University of California Press, 1993.

(p.277) Squeff, Enio and José Miguel Wisnik, eds. Musica: O Nacional e o Popular na Cultura Brasileira. São Paulo: Brasiliense, 1982.

Stallings, Stephanie N. “Collective Difference: The Pan American Association of Composers and Pan American Ideology in Music, 1925–1945.” Ph.D. diss., Florida State University, 2008.

Stam, Robert. Tropical Multiculturalism: A Comparative History of Race in Brazilian Cinema and Culture. Durham, N.C.: Duke University Press, 1997.

Stearns, Harold E., ed. Civilization in the United States: An Inquiry by Thirty Americans. New York: Harcourt, Brace, 1922.

Stein, Louise K. Songs of Mortals, Dialogues of the Gods: Music and Theatre in Seventeenth-Century Spain. Oxford: Clarendon Press, 1993.

Steinberg, Michael. Nights in the Gardens of Spain: Symphonic Impressions for Piano and Orchestra. Program booklet, New York Philharmonic, November 4, 1995.

Steinfirst, Donald. “Final Festival Concerts Draw Fair Attendance.” Pittsburgh Press, December 1, 1952, 32.

Stevenson, Robert M. “Brazilian Report of Villa-Lobos’s First Los Angeles Visit.” Inter-American Music Review 9, no. 1 (1987): 9–10.

Stevenson, Robert M. “Carlos Chávez’s United States Press Coverage.” Inter-American Music Review 3, no. 2 (1981): 125–31.

Stevenson, Robert M. “Heitor Villa-Lobos’s Los Angeles Connection: A Centennial Tribute.” Inter-American Music Review 9, no. 1 (1987): 1–8.

Stevenson, Robert M. Music in Mexico: A Historical Survey. New York: Thomas Y. Crowell, 1952.

Stevenson, Robert M. “Nino Marcelli, Founder of the San Diego Symphony Orchestra.” Inter-American Music Review 10, no. 1 (1988): 113–23.

Stevenson, Robert M. “Opera Beginnings in the New World.” Musical Quarterly 45, no. 1 (1959): 8–25.

Stocking, George W., Jr. “The Enthographical Sensibility of the 1920s and the Dualism of the Anthropological Tradition.” In George W. Stocking Jr., ed., Romantic Motives: Essays on Anthropological Sensibility. Madison: University of Wisconsin Press, 1989, 208–76.

Stokes, Richard L. “Realm of Music.” Evening World (New York), April 23, 1928.

“Stokowski Directs H.P. in First Dress Rehearsal as Stock Attacks Moderns.” Philadelphia Record, March 27, 1932.

“Stokowski to Give Chávez Ballet.” Musical America 52, no. 2 (1932): 6.

Straus, Joseph N. “The Myth of Serial ‘Tyranny’ in the 1950s and 1960s.” Musical Quarterly 83, no. 3 (1999): 301–43.

Straus, Joseph N. “A Response to Anne C. Shreffler.” Musical Quarterly 82, no. 1 (2000): 40.

Straus, Joseph N. “A Revisionist History of Twelve-Tone Serialism in American Music.” Journal of the Society for American Music 2, no. 3 (2008): 355–95.

Straus, Joseph N. Twelve-Tone Music in America. Cambridge: Cambridge University Press, 2009.

Strauss, Theodore. “Donald Duck’s Disney.” New York Times, February 7, 1943.

Stravinsky, Igor, and Robert Craft. Conversations with Igor Stravinsky. 1959. Berkeley: University of California Press, 1980.

Strohm, Reinhard. “Looking Back at Ourselves: The Problem with the Musical Work Concept.” In Michael Talbot, ed., The Musical Work: Reality or Invention? Liverpool: Liverpool University Press, 2000, 128–52.

Stuckenschmidt, H. H. “Machines—A Vision of the Future.” Modern Music 4, no. 3 (1927): 8–14.

Sturman, Janet L. Zarzuela: Spanish Operetta, American Stage. Urbana: University of Illinois Press, 2000.

(p.278) Suárez Urtubey, Pola. Alberto Ginastera. Buenos Aires: Ediciones Culturales Argentinas, 1967.

Suárez Urtubey, Pola. Alberto Ginastera en cinco movimientos. Buenos Aires: Editorial Victor Leru, 1972.

Suárez Urtubey, Pola. “La Cantata para América mágica.” Revista Musical Chilena 84 (June–July 1983): 19–35.

Suárez Urtubey, Pola. Ginastera: Veinte años después. Buenos Aires: Academia Nacional de Bellas Artes, 2003.

Suárez Urtubey, Pola. “Ginastera’s Bomarzo.” Tempo 84 (Spring 1968): 14–21.

Summers, William. “New and Little Known Sources of Hispanic Music from California.” Inter-American Music Review 11, no. 2 (1991): 13–24.

Summers, William. “Spanish Music in California, 1769–1840: A Reassessment.” In Report of the Twelfth Congress of the International Musicological Society, Berkeley, 1977. Kassel, Germany: Bärenreiter, 1981, 360–80.

Susman, Warren I. Culture as History: The Transformation of American Society in the Twentieth Century. New York: Pantheon Books, 1984.

Suzuki, Shinichi. Nurtured by Love: The Classic Approach to Talent Education. Trans. Waltraud Suzuki. 2nd ed. Miami: Warner Brothers, Summy Birchard, 1983.

Swan, Annalyn. “The Spell of Philip Glass.” New Republic 189 (December 12, 1983): 27–32.

Sweet, William Warren. A History of Latin America. New York: Abingdon Press, 1919.

Szulc, Tad. “Beneath the Boiling-Up in South America.” New York Times, May 25, 1958.

Tabor, Michelle. “Alberto Ginastera’s Late Instrumental Style.” Latin American Music Review 15, no. 1 (1994): 1–31.

Taffet, Jeffrey F. “‘My Guitar Is Not for the Rich’: The New Chilean Song Movement and the Politics of Culture.” Journal of American Culture 20, no. 2 (1997): 91–103.

“Talk of the Town: Villa-Lobos.” New Yorker, February 10, 1945, 16.

Tarasti, Eero. Heitor Villa-Lobos: The Life and Works, 1887–1959. Jefferson, N.C.: McFarland, 1987.

Taruskin, Richard. “Back to Whom? Neoclassicism as Ideology.” 19th-Century Music 16 (1993): 286–302.

Taruskin, Richard. The Danger of Music and Other Anti-Utopian Essays. Berkeley: University of California Press, 2009.

Taruskin, Richard. “Colonialist Nationalism.” Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/grove/music/50846 (accessed March 6, 2011).

Taruskin, Richard. The Oxford History of Western Music. 6 vols. Oxford: Oxford University Press, 2005.

Taruskin, Richard. “Russian Folk Melodies in The Rite of Spring.” Journal of the American Musicological Society 33, no. 3 (1980): 501–43.

Taruskin, Richard. Stravinsky and the Russian Traditions: A Biography of the Works through “Mavra.” 2 vols. Berkeley: University of California Press, 1996.

Tashjian, Dickran. Skyscraper Primitives: Dada and the American Avant-Garde, 1910–1925. Middletown, Conn.: Wesleyan University Press, 1975.

Taubman, Howard [H.T.]. “In Time to Come? Twelve-Tone Influence Is Major Influence but Public Has Not Yet Accepted It.” New York Times, March 23, 1958.

Taubman, Howard [H.T.]. “Mexican Composers: Carlos Chávez Discusses the Creative Work of His Countrymen.” New York Times, January 26, 1936.

Taubman, Howard [H.T.]. “Mexican Novelty Offered by Iturbi.” New York Times, June 28, 1934.

Taubman, Howard [H.T.]. “Music: Little Orchestra Society.” New York Times, October 18, 1955.

Taubman, Howard [H.T.]. “Music: 17,000 Hear Gershwin Program.” New York Times, August 17, 1932.

Taubman, Howard [H.T.]. “Musical Theatre: Fine Score Not Enough to Carry the Day.” New York Times, September 26, 1948.

Taubman, Howard [H.T.]. “Three New Works Heard in Capital.” New York Times, April 20, 1958.

(p.279) Taylor, Timothy D. Beyond Exoticism: Western Music and the World. Durham, N.C.: Duke University Press, 2007.

Taylor, W. S. “A Critique of Sublimation in Males: A Study of Forty Superior Single Men.” Genetic Psychology Monographs 13, no. 1 (1933): 3–115.

Taylor Gibson, Christina. “The Music of Manuel M. Ponce, Julián Carrillo, and Carlos Chávez in New York, 1925–1932.” Ph.D. diss., University of Maryland, College Park, 2008.

“Text of Address by President Eisenhower at Pan American Union.” New York Times, April 13, 1953.

Thomas, Susan. Cuban Zarzuela: Performing Race and Gender on Havana’s Lyric Stage. Urbana: University of Illinois Press, 2009.

Thompson, Oscar. “Brazilian Music Given at Museum.” New York Sun, October 17, 1940.

Thompson, Oscar. “Burle Marx Conducts with Soprano and Two Pianists as Soloists.” New York Sun, May 5, 1939.

Thompson, Oscar. “Fly-Wheel Opera.” Modern Music 7, no. 1 (1929–30): 39–42.

Thompson, Oscar. “Music: Musicians’ Symphony Begins New Series of Concerts with George Gershwin in Triple Role.” New York Evening Post, November 2, 1932.

Thompson, Oscar. “Own Works Led by Villa-Lobos.” New York Sun, February 13, 1945.

Thompson, Oscar. “Philadelphia Gives Chávez Ballet, H.P., in World Premiere.” Musical America 52, no. 7 (1932): 1, 7.

Thompson, Oscar. “Two Choros Led by Villa-Lobos.” New York Sun, February 9, 1945.

Thomson, Virgil. “Aaron Copland.” Modern Music 9, no. 2 (1932): 71–72.

Thomson, Virgil. “Music.” New York Herald Tribune, February 24, 1947.

Thomson, Virgil. “Music: Children’s Day.” New York Herald Tribune, February 9, 1945.

Thomson, Virgil. “Music: Heavy Hands across Caribbean.” New York Herald Tribune, October 17, 1940.

Thomson, Virgil. “Music: More Brazil.” New York Herald Tribune, October 19, 1940.

Thomson, Virgil. A Virgil Thomson Reader. New York: Dutton, 1984.

“Throng Hears Concert.” New York Times, February 22, 1928.

Tick, Judith. “Charles Ives and Gender Ideology.” In Ruth A. Solie, ed., Musicology and Difference: Gender and Sexuality in Music Scholarship. Berkeley: University of California Press, 1993, 83–106.

“To Latin America.” New York Times, August 10, 1941.

Tomlinson, Gary. The Singing of the New World: Indigenous Voice in the Era of European Contact. Cambridge: Cambridge University Press, 2007.

Toor, Frances ed. Cancionero Mexicano. Mexico City: Mexican Folkways, 1931.

“Topics of the Times.” New York Times, April 15, 1933.

Torgovnick, Mariana. Gone Primitive: Savage Intellects, Modern Lives. Chicago: University of Chicago Press, 1990.

Torres, Rodrigo, ed. Victor Jara Obra Musical Completa. Santiago, Chile: Fundación Víctor Jara, 1996.

Trippett, David. “Composing Time: Zeno’s Arrow, Hindemith’s Erinnerung, and Satie’s Instantaneisme.” Journal of Musicology 24, no. 4 (2007): 522–80.

Turino, Thomas. “Nationalism and Latin American Music: Selected Case Studies and Theoretical Considerations.” Latin American Music Review 24, no. 2 (2003): 169–209.

Tyron, Winthrop P. “Two American Modernists.” Christian Science Monitor, April 26, 1928.

Tyrrell, Sarah. “M. Camargo Guarnieri and the Influence of Mário de Andrade’s Modernism.” Latin American Music Review 29, no. 1 (2008): 43–63.

(p.280) Van den Toorn, Pieter. Stravinsky and the Rite of Spring: The Beginnings of a Musical Language. Berkeley: University of California Press, 1987.

Vasconcelos, José. “Bolivarismo y Monroismo.” In Obras completas. Vol. 2. Mexico City: Libreros Mexicanos Unidos, 1958, 1305–493.

Vasconcelos, José. “Indología: Una interpretación de la cultura iberoamericana.” In Obras completas. Vol. 2. Mexico City: Libreros Mexicanos Unidos, 1958, 1069–303.

Vasconcelos, José. “El monismo estético.” In Obras completas. Vol. 4. Mexico City: Liberos Mexicanos Unidos, 1961, 9–92.

Vasconcelos, José. “La raza cósmica.” In Obras completas. Vol. 2. Mexico City: Liberos Mexicanos Unidos, 1958, 903–1068.

Vasconcelos, José, and Manuel Gamio. Aspects of Mexican Civilization. Chicago: University of Chicago Press, 1926.

Vásquez, Genaro. Música popular y costumbres regionales del estado de Oaxaca. Lecture for Alumnos del Instituto de Ciecias y Artes del Estado de Oaxaca, 1917. Mexico City: n.p., 1924.

Vassberg, David E. “Villa-Lobos: Music as a Tool of Nationalism.” Luso Brazilian Review 6, no. 2 (1969): 55–65.

Vega, Aurelio de la. “Latin American Composers in the United States.” Latin American Music Review 1, no. 2 (1980): 162–75.

Venn, Edward. “Rethinking Russolo.” Tempo 64, no. 251 (2010): 8–16.

Verhaalen, Marion. Camargo Guarnieri, Brazilian Composer. Bloomington: Indiana University Press, 2005.

Vila, Pablo. “Argentina’s ‘Rock nacional’: The Struggle for Meaning.” Latin American Music Review 10, no. 1 (1989): 1–28.

Vila, Pablo. “Rock nacional and Dictatorship in Argentina.” Popular Music 6, no. 2 (1987): 129–48.

Villa-Lobos, Heitor. O ensino popular de música no Brasil. Rio de Janeiro: Oficina Grafica da Secretaria Geral de Educacão e Cultura, 1937.

Viñao, Alejandro. “An Old Tradition We Have Just Invented.” Electroacoustic Music 4, nos. 1–2 (1989): 33–43.

Vincent, John. “New Opera in Buenos Aires.” Inter-American Music Bulletin 44 (November 1964): 1–4.

Wagenknecht, Edward. “W. H. Hudson’s South American Idyll in a New Edition.” New York Times, November 21, 1943.

Wagner, Richard. Richard Wagner’s Prose Works. Vol. 1: The Artwork of the Future. Ed. William Ashton Ellis. 2nd ed. London: Kegan, Paul, Trench, Trübner, 1895.

Wallace, David Edward. “Alberto Ginastera: An Analysis of His Style and Techniques of Composition.” Ph.D. diss., Northwestern University, 1964.

Wallaschek, Richard. Primitive Music: An Inquiry into the Origin and Development of Music, Songs, Instruments, Dances, and Pantomimes of Savages. London: Longmans, Green, 1893.

Walsh, Michael. “The Heart Is Back in the Game.” Time, September 20, 1982, 60–61.

Warshow, Robert. “The Legacy of the 1930s.” In The Immediate Experience: Movies, Comics, Theatre and Other Aspects of Popular Culture. Garden City, N.Y.: Anchor Books, 1964, 33–48.

Waseen, Amber. “Carlos Chávez and the Corrido.” Master’s thesis, Bowling Green State University, 2005.

Wason, Robert W. “Tonality and Atonality in Frederic Rzewski’s Variations on ‘The People United Will Never Be Defeated!’Perspectives of New Music 26, no. 1 (1988): 108–43.

(p.281) Watkins, Glenn. Proof through the Night: Music and the Great War. Berkeley: University of California Press, 2003.

Watkins, Glenn. Pyramids at the Louvre: Music, Culture, and Collage from Stravinsky to the Postmodernists. Cambridge: Belknap Press of Harvard University Press, 1994.

Watkins, Mary F. “Chávez’s Ballet ‘H.P.’ Has Debut in Philadelphia: Mexican Composer Typifies Interrelation of North and South in Symphony.” New York Herald Tribune, April 1, 1932.

Weine, Stephen. Testimony after Catastrophe: Narrating the Traumas of Political Violence. Evanston, Ill.: Northwestern University Press, 2006.

Weinstock, Herbert. “America: Bomarzo Fails to Shock.” Opera 19, no. 5 (1968): 467.

Weinstock, Herbert. “Carlos Chávez.” Musical Quarterly 22, no. 4 (1936): 435–45.

Weinstock, Herbert. Carlos Chávez: North American Press 1936–1950. New York: Herbert Barrett, 1951.

Weinstock, Herbert, annotator. Mexican Music. Concerts Arranged by Carlos Chávez as Part of the Exhibition: Twenty Centuries of Mexican Art. New York: William E. Rudge’s Sons, 1940.

Weissmann, Adolph. “Race and Modernity.” League of Composers’ Review 1, no. 1 (1924): 3–6.

Weissmann, Adolph. “The Tyranny of the Absolute.” League of Composers’ Review 2, no. 2 (1925): 17–20.

Wellens, Ian. Music on the Frontline: Nicolas Nabokov’s Struggle against Communism and Middlebrow Culture. Aldershot, U.K.: Ashgate, 2002.

Wertenbaker, Charles. A New Doctrine for the Americas. New York: Viking Press, 1941.

Whitaker, Arthur P. The Western Hemisphere Idea. Ithaca, N.Y.: Cornell University Press, 1954.

White, Eric Walter. Stravinsky and His Works. 2nd ed. Berkeley: University of California Press, 1979.

Whitworth, Walter. “Symphony and Guest Pianist in Top Form.” Indianapolis News, January 25, 1954.

Williams, Daryle. Culture Wars in Brazil: The First Vargas Regime, 1930–1945. Durham, N.C.: Duke University Press, 2001.

Williams, Virginia S. Radical Journalists, Generalist Intellectuals, and U.S.–Latin American Relations. Lewiston, N.Y.: Edwin Mellen Press, 2001.

Williams, William Appleman. Empire as a Way of Life. New York: Oxford University Press, 1980.

Williams, William Carlos. In the American Grain. Norfolk, Conn.: New Directions, 1925.

Wilson, Edmund. “Imaginary Conversation: Mr. Paul Rosenfeld and Mr. Matthew Josephson.” New Republic 38 (April 9, 1924): 179–81.

Winterer, Caroline. The Culture of Classicism: Ancient Greece and Rome in American Intellectual Life, 1780–1910. Baltimore: Johns Hopkins University Press, 2002.

Wisnik, José Miguel. O coro dos contrários: A música em torno da semana de 22. São Paulo: Livraria Duas Cidades, 1977.

Wolff, Christian. Liner notes for The People United Will Never Be Defeated! Ursula Oppens, piano. Vanguard 1978.

Woll, Allen L. The Latin Image in American Film. Revised ed. Los Angeles: UCLA Latin American Center Publications, 1997.

Woodmansee, Martha. The Author, Art, and the Market. New York: Columbia University Press, 1994.

“Words and Music: Sir Adrian Boult Conducts N.B.C. Orchestra Expertly.” New York Post, May 16, 1938.

Wright, Simon. Villa-Lobos. Oxford: Oxford University Press, 1992.

(p.282) Wright, Simon. “Villa-Lobos and the Cinema: A Note.” Luso-Brazilian Review 19 (1982): 243–50.

Yellis, Kenneth A. “Prosperity’s Child: Some Thoughts on the Flapper.” American Quarterly 21, no. 1 (1969): 44–64.

“Young Composers [sic] Work Opens Concert Series.” New York Herald Tribune, April 23, 1928.

Young, Mary. “The West and American Cultural Identity: Old Themes and New Variations.” Western Historical Quarterly 1, no. 2 (1970): 137–60.

Zimmerman, Walter. Desert Plants: Conversations with 25 American Musicians. Vancouver: ARC Publications, 1976.

Zuck, Barbara A. A History of Musical Americanism. Ann Arbor, Mich.: UMI Research Press, 1980.