ABSTRACT
Although some Latin-American composers have continued to combine elements from their heritages with contemporary influences, the tendency among the younger generation from the 1950s on has been toward more varied cosmopolitan styles, combining both traditional (Neoclassical) and the most modernistic approaches. This tendency has been evident in the postwar works of the Mexican composers Carlos Chávez and Rodolfo Halffter, Argentinians Alberto Ginastera and Juan Carlo Paz, Brazilians Cláudio Santoro, Marlos Nobre, and São Paulo Música Nova Group (Gilberto Mendes, Rogério Duprat, Willy Corrêa de Oliveira), and Colombians Fabio González-Zuleta and Luis Antonio Escobar). This tendency also includes Latin-American composers living in Europe and the United States, including the Argentinian-German composer Mauricio Kagel, Cuban Aurelio de la Vega, Argentinian Luis Jorge González, Chilean Juan Orrego-Salas, and others. Chilean and Peruvian composers who have remained at home have continued in more traditional idioms without infusing them with modernistic postwar techniques. Repre sentative composers of diverse national backgrounds who have continued to develop earlier twentieth-century tendencies, both cosmopolitan and national, are chosen for the following discussions. Certain works of each of these composers represent a confluence of early twentieth-century techniques that include the use of either distinctive or sublimated national elements.
