This chapter revisits the epistemological question posed at the outset: What do we know about Latin American art music in the United States, and how do we know it? Taking into account the previous eight chapters, the epilogue advocates a cosmopolitan historical model for “American music” and challenges Anglo-centric musical histories of the United States. Also questioned is the marked tendency, apparent in many recent studies, to erase completely Latin American music from general music history, apparent in many recent works. It is time to think of “American music” in the broadest sense of the word.
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