Collective Difference: The Pan-American Association of Composers

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presidents used the corollary to justify the invasion of Cuba (1906-10), Nicaragua (1909- 11, 1912-25, and 1926-33), Haiti (1915-34) and the Dominican Republic (1916-24). In 1928 Calvin Coolidge’s undersecretary of state J. Reuben Clark reversed the Roosevelt Corollary in the Clark Memorandum, stating that the Monroe Doctrine did not entitle the United States to intervene in Latin American affairs unless a European power directly threatened the Americas. 4 The Clark Memorandum thus paved the way for later New Deal policies. In the decade that followed, a new political landscape was wrought in the United States as a result of the widespread economic depression. The U.S. economy was flattened, making it more closely aligned with those of many Latin American countries. Franklin Delano Roosevelt’s foreign policy adapted to this change in economic topography. In striking contrast to Theodore Roosevelt’s American Exceptionalism were notions about Good Neighborliness from F.D.R.’s administration. These ideas were spurred in part by a rising tide of fascism in Western Europe, a situation that dramatically increased Latin America’s importance as a trading partner. Politicians and intellectuals in Latin America during the period in question often referred to two opposing political ideologies: Pan-Americanism and Pan-Latinism. 5 Pan- American sentiment had run high in Mexico, Central and South America in the early days of Latin American independence, as some authors advocated emulation of U.S. democracy. Domingo F. Sarmiento (1811-1888), president of Argentina and an aggressive social reformer, wrote in his Vida de Abrán Lincoln (1865), “The political school for South America is in the United States, as the sharer of English liberties, as the creator of a government absolutely free and strong, which in peace has built up the most prosperous nation of the earth and in war has displayed resources, has gathered armies . . . that open a new page in the history of modern war.” 6 Simón Bolívar, often known for his committed political opposition to the U.S., nevertheless wrote, “The example of the 4 The PAAC was founded in the same year. 5 Proponents of Pan-Latinism foresaw the imperialist leanings of the U.S. government and advocated a unification of Latin American republics to maintain a balance of power in the region. 6 As quoted in Samuel Guy Inman, Problems in Pan Americanism (London: George Allen & Unwin, 1926): 324. 4
United States, because of its wonderful prosperity, was too prominent not to be emulated. Who can resist the victorious attraction of a full and absolute enjoyment of sovereignty, independence and liberty?” 7 Though many in Latin America were clearly impressed with the United States asserting its power, negative feeling between the U.S. and its Spanish- and Portuguese- speaking neighbors also intensified in the second half of the nineteenth century, beginning with the U.S.-Mexican War (1846-48). As the first war to be fought by the U.S. on foreign soil, this was also the first major political event that drew Latin America into the national consciousness of the United States. Technological innovations made print media production easier and cheaper, and newspapers like the New York Sun dropped their prices to one cent in 1833. Suddenly, their publications were available to everyone. The U.S.-Mexican War was thus the first war to receive mass media coverage. For many U.S. Americans the conflict became a window to customs and attitudes largely alien to their own, and they believed their country would never be the same. They were correct; this war more than any other set the United States on its trajectory to prosperity and established it as a major power in the western hemisphere. Control over the California gold mines, as well as over water resources and, therefore, agricultural potential in the west, is responsible for much of the subsequent wealth of the United States. The redistribution of land between Mexico and the U.S. also opened trade routes to Asia and gained the U.S. Santa Fe, which had in the previous century become a major trade center. Although many U.S. citizens have forgotten the details and the lasting consequences of this war, their Mexican neighbors have not. While the U.S.-Mexican War had won the United States half a million square miles of new territory, the Spanish-American War half a century later had an even larger impact on the United States’s awareness of its Latin American neighbors, and vice versa. The circumstances surrounding the beginning of the conflict are still debated. The mysterious sinking of the USS Maine in February 1898 led William Randolph Hearst and other journalists immediately to conclude that Spanish officials in Cuba were to blame, though analysis of evidence decades later found that assumption unverifiable. The resulting furor in the months following the explosion (as exemplified by the cry 7 Ibid, 324. 5
Page 1 and 2: FLORIDA STATE UNIVERSITY COLLEGE OF
Page 3 and 4: ACKNOWLEDGMENTS I would like to exp
Page 5 and 6: TABLE OF CONTENTS List of Figures .
Page 7 and 8: LIST OF FIGURES FIGURE I.1. Pan-Ame
Page 9 and 10: LIST OF MUSICAL EXAMPLES EXAMPLE 1.
Page 11 and 12: EXAMPLE 4.5. Amadeo Roldán, “Sig
Page 13 and 14: INTRODUCTION Friendly cultural and
Page 15: of America, and [to] stimulate comp
Page 19 and 20: Figure I.1. Pan-American Exposition
Page 21 and 22: the New Music Quarterly Recordings
Page 23 and 24: CHAPTER 1 1930s PAN-AMERICAN PERCUS
Page 25 and 26: publication composed for percussion
Page 27 and 28: of scientific and technological adv
Page 29 and 30: In his Tecumseh, or the Battle of t
Page 31 and 32: percussion ensemble, eight pianos a
Page 33 and 34: in those popular dance genres. The
Page 35 and 36: concertmaster of the New York Philh
Page 37 and 38: Example 1.1. William Russell, Percu
Page 39 and 40: instruments that contributed to the
Page 41 and 42: Example 1.4. Amadeo Roldán, Rítmi
Page 43 and 44: Rítmica No. 5 separates rhythmic e
Page 45 and 46: Paris, “there is nothing more con
Page 47 and 48: of decadence and collapse.” 44 Ne
Page 49 and 50: Example 1.7. Ionisation, mm. 9-12 S
Page 51 and 52: Example 1.8b. Edgard Varèse, Ionis
Page 53 and 54: Example 1.9b. Amadeo Roldán, Rítm
Page 55 and 56: coquettes neither with academies no
Page 57 and 58: Rhythms and general direction of pi
Page 59 and 60: No. 1 conducted by Fritz Reiner wit
Page 61 and 62: against-three cross-rhythm (Example
Page 63 and 64: knowledge of it. Certainly, the sam
Page 65 and 66: with both Roldán and Caturla in th
Page 67:
fortissimo 83 and are immediately f
Page 70 and 71:
wrote in 1932, “I am convinced th
Page 72 and 73:
subject of his early percussion wor
Page 74 and 75:
societies, the PAAC presented at le
Page 76 and 77:
their own PAAC concerts in Havana a
Page 78 and 79:
in Berlin was unsuccessful in Cowel
Page 80 and 81:
This music congress never took plac
Page 82 and 83:
most likely in the hope that he wou
Page 84 and 85:
from Fabini - and Cotapos did not e
Page 86 and 87:
sponsored by the League of Composer
Page 88 and 89:
neither Cuban nor American, nor eve
Page 90 and 91:
Figure 2.1. Concert program, Carneg
Page 92 and 93:
Figure 2.3. Concert program, Slonim
Page 94 and 95:
and somewhat soporific.” 39 With
Page 96 and 97:
Figure 2.4. Concert program, New Sc
Page 98 and 99:
composers of the Pan American, amon
Page 100 and 101:
voz, who stated unequivocally of Ge
Page 102 and 103:
Caturla’s insightful description
Page 104 and 105:
modern American music to these citi
Page 106 and 107:
organizer and financier, and Slonim
Page 108 and 109:
Paris, June 6 and 11, 1931 Paris in
Page 110 and 111:
Example 3.1. Adolph Weiss, American
Page 112 and 113:
elated to Cowell, “the final gong
Page 114 and 115:
however, attributed to the work a m
Page 116 and 117:
of American popular culture in the
Page 118 and 119:
Example 3.4. Wallingford Riegger, T
Page 120 and 121:
musicians seem to turn their invent
Page 122 and 123:
July,” with its quotations from t
Page 124 and 125:
as a medium. Slonimsky described To
Page 126 and 127:
a generation of older composers inc
Page 128 and 129:
the twelve-tone system. Roldán’s
Page 130 and 131:
sponsored many concerts of new Fren
Page 132 and 133:
Figure 3.2. Concert program. Madrid
Page 134 and 135:
in collaboration with Cowell’s Ne
Page 136 and 137:
which I gave the names of Ives, Rug
Page 138 and 139:
Figure 3.5. Concert program. Budape
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talent.” 81 In January 1933 Varè
Page 142 and 143:
The evening consisted of Ruggles’
Page 144 and 145:
on four Latin American PAAC members
Page 146 and 147:
having been governed by Spain (1764
Page 148 and 149:
God’s America, Spanish America.
Page 150 and 151:
Blues and Son: Pan-American Literar
Page 152 and 153:
example is “I, Too, Sing America,
Page 154 and 155:
cultural expressions that defined a
Page 156 and 157:
the repeated lines “tú no sabe i
Page 158 and 159:
Example 4.2. Alejandro García Catu
Page 160 and 161:
Example 4.3. Amadeo Roldán, “Neg
Page 162 and 163:
Example 4.6. Amadeo Roldán, “Sig
Page 164 and 165:
in Havana. Mexican composers Cháve
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Revueltas . . . asked me if I had o
Page 168 and 169:
Example 4.11. Silvestre Revueltas,
Page 170 and 171:
applying Marxist social theory to t
Page 172 and 173:
present in the preceding stanza, le
Page 174 and 175:
Figure 4.1. Carlos Chávez, “Nort
Page 176 and 177:
A slave—under the whip, Beaten an
Page 178 and 179:
may be mistaken for Blacks). Each s
Page 180 and 181:
however, the logo was changed to re
Page 182 and 183:
as well as other musical heritages.
Page 184 and 185:
Henry Brant, Two Sarabandes Adolph
Page 186 and 187:
Charles Weidman assisted by José L
Page 188 and 189:
JUNE 6, 1932 Hause des Rundfunks, B
Page 190 and 191:
Claude Debussy, La fille aux cheveu
Page 192 and 193:
Alejandro García Caturla, La Rumba
Page 194 and 195:
Paul Dambly, A Paris June 26, 1931.
Page 196 and 197:
Oscar Bie, Stuttgarter Neues Tagebl
Page 198 and 199:
BIBLIOGRAPHY Aharonián, Coriún.
Page 200 and 201:
___, ed. Yearbook for Inter-America
Page 202 and 203:
García Canclini, Nestor. Hybrid Cu
Page 204 and 205:
Kuss, Malena. "Leitmotive de Charle
Page 206 and 207:
“Nuts! to Europe: Swell Stuff by
Page 208 and 209:
___. “The Newest American Compose
Page 210 and 211:
Unruh, Vicky. Latin American Vangua
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Collective Difference: The Pan-American Association of Composers

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