One afternoon in 1925 I wos introduced to a short and éynamic individual at the Paris apartment of my composition teacher, Nadia Boulanger, Someone told me thet this gentleman with the derk complexion and the fiery eyes was a composer from Brasil by the nome of Heitor Vilia Lobos. This the first inkling I hed that there might be such a thing as Latin American music. Up to that time, we all naturally assumed thet the excit- ing new music would come fron Burope. 4A few dering spirits hed the temerity to hope thet the United States might some dey con- tribute to the stream of world composition. But practically nobody had given e thought to South America as a possible source for fresh musical experience. My second contact with Latin American composition was made in Greenwich Village. ‘In a tiny one-room apartment where he lived around 1927, Gsrlos Ohaves played for me his Mexican Dallet “The Four Suns." I was enthusiastic about what 1 heard, ond this time the concept of a Latin Anericen music really stuck. The ides hes since been gaining hold everywhere. Recently, world conditions (and political expediency) have provided an un- expected impetus to our musical relations with neighboring Americen countries. By now, of course, both Villa Lobos end Chaves are familior figures in the musical world. And, ny own interest broadened considerably, after a first, tentative, visit to Mexico in 1932, and,in 1941, a musical tour through nine different countries of the southern hemisphere.I doubt whether anyone in Peru or Ecuador had ever before seen an Anerican symphonic composor in the flesh. To get quite so far afield, you have to be possessed, as I an, of a kind of musical wenderlust. Too macy people, when it eomes to music, are inveterate stay-et-homes. ‘They appsrently feel uncomfortable ex- cept when they are in the presence of accredited genius. They prefer to wander down well¢worn paths, clearly marked: ‘This Way To a Masterpiece, But it hes been my experience that thom who really love music have a consuming passion to become familiar with its every manifestation. Without doubt, one of the newest of those manifestations is Latin American music, and, fortunetely for music listeners, they have in recent years many more opportu- nities to get acquainted with it. Most musical people want to know whether there ore any interesting composers in the southern pert of our hemisphere. They are willing to take yes or no for an answer and let it go at that. For the musician who has beon visiting the composers in South America, as I have been, the answer is not so simple. I examined the work of about sixty-five composers and didn't find a Bach or Beethoven ainong them. But I did find an increasing body of music, many well trained ¢omposers, a few real personalities end great promise for the future. nought to make apparent the value for both North and South America ef closer, more permanent musical ties, beyond any question of political expediency. To see the field of composition as it actually is down $here we should of course stop thinking in terms of The South American Gomposer.. No sueh person exists, ‘South America, es weare often told but never fully to comprehend, is a collection of seperate countries, each with independent traditions. Their musical developments are verious énd there is little or no musical contact between them.. Brasilien, Colombian, Peruvian composers are just as different from esch other as are Dutch, Hungarian or Yugoslev composers. Buropeen music covers @ lot of territory, and 80 also does South Americans Certain generalizations are possible, however, The countries that have developed most quickly are those with the richest folk- lore. Sut whether folklorism is strong or not, the influence of the modern French school is predominant everywhere in South America, This is true of all the arts, but particularly of music. A few of the more sophisticated composers ere thoroughly familiar with early Stravinsky and ore at times influenced by what they know. As for Shémberg or Hindeuith, their names are known and their music admired, but they have as yet left very few trace: The Latin strain in South Anerican art is @ strong one, and it will undoubdtedly continue to be so. All contemporary composers in South America produce works under serious handicaps. Only five or six first-rate orchestras function on the entire continent. Comparatively few performances of new works are given by these orchestras, and the same holds true for the local radio stations. “horter pieces have been published fron time to time, but publishers ere entirely lacking for long * hese statements are no longer true in 1960. The Schénberg Sehool hes had considerable influence, and the Debussy-Ravel esthetic has been repleced by a strong interest in United States composers of various tendancies.