Intro
Cover Page
Half Title
Title Page
Copyright Page
Dedication
Contents
Acknowledgments
Editorial Note
Part I. A Citizen Diplomat Prepares
1 Introduction
Pan Americanism and U.S. Cultural Diplomacy
Copland's Cultural Diplomacy in Latin America: Overview
Methodology, Sources, and Orientation
On the Job in Latin America
A Diplomat's Background: Character and Experience
2 Copland and the Beginnings of U.S. Cultural Diplomacy
Looking South: "A new world with its own new music"
A "brief dalliance with jazz"
"Modernist circles in which Mr. Copland's music chiefly has its being"
Political Engagement
"A legacy he could not inherit"
Mexico: "Something fresh and pure and wholesome"
Good-Neighbor Cultural Diplomacy and Latin America
Music and U.S. Cultural Diplomacy
"In danger of working in a vacuum"
3 Copland as Good Neighbor
"The United States is way behind"
A "Lofty Composer" and the OIAA
"South American rhythms are swell"
"Goodwilling" and Music for Export
Jazz as Export?
"Part of a slave race"
"Jumbled proceedings"
A "Special Envoy": Copland's Projects
A Citizen Diplomat Prepares
Part II. Copland, Latin America, and World War II
4 Diplomat "in the Field"
"The Foreign Land Right Next Door"
"Upholding the Ideals of Democracy"
Copland in Peru
Billy the Kid in Lima
The "Switzerland of Latin America"
5 Copland in Argentina
Argentina as Neighbor
Copland and the Buenos Aires Press
Folklore: A "magnificent trough"
"At last: A composer with a fresh style"
"A natural flair for Argentinian musical phraseology"
Copland's Music in Buenos Aires: Two Publics
6 Copland in Brazil
"A possible source for fresh musical experience"
Courting Villa-Lobos
A "tough life"
Camargo Guarnieri: "Everything it takes".

"The heart is a dead muscle"
Good Neighbor in Brazil
"The Negro Problem"
7 Copland in Chile
"All of South America Must Repel the Nazis"
Copland Meets Chilean Composers
Pablo Garrido and the Chilean Jazz Scene
"Believe It or Not"
The "blackest of Black music"
8 The Americas at War
Copland in Cuba: "América indivisible"
"Remarkable that we have never thought of South America before"
State Department Duties
To preach or to learn?
Musical Pan Americanism at Home
"Round, Round, Hitler's Grave"
Guarnieri in the United States
From Lincoln Portrait to Retrato de Lincoln
The Real Copland?
Pan Americanism and Approaching Victory
Part III. Copland, Latin America, and the Postwar
9 The Early Cold War
Aftermath of the Good Neighbor Policy
Latin American Composers in the Berkshires
An "enlightened and cordial opinion"
"His music is universal"
"Everyone seems genuinely glad to see me again"
"Naiveté, sentimentality, sweetness, and realism"
"Being a pompier is no crime"
"I would not be surprised"
Defending U.S. Culture
A "mess!"
"If men will but keep the Peace"
"Dullards" Making Music
Other Brazilian Composers
The Search for "Freshness"
"A truer picture"
10 Shifting Ground and the Crisis of Modernism
Folklore and the "musically unwashed"
U.S. Cultural Diplomacy and the HUAC
"The only way to have a friend"
A "state of flux and semiconfusion"
A "perverted stance"?
Copland as Twelve-Toner
Citizen Diplomat Turns Enemy of the State
Private Citizen in Caracas
11 The Sixties
"A living refutation to communist-inspired lies"
Copland and Ives: U.S. Universalists
"Known only as the composer of El salón México"?
Copland and Aesthetic "Totalitarianism"
"Too Much Brass"
Interim.

"It's been a long time since I felt so little needed"
Latin Americanism and the Avant-Garde
An "absolutely inoffensive cocktail"
"The State Must Not Direct the Artist"
Copland and Leftist Chilean Composers
"The cold truth"
"Today a Composer Doesn't Die of Hunger"
12 Latin American Classical Music and Memory
Lincoln Portrait and the "Sin of Suggestibility"
Suggestibility and U.S.-Latin American Relations
Memory, Music, and Latin America
Copland and History
Cultural Diplomacy Then and Now
"The only way to have a friend"
Notes
Recommended Reading
Index
Series Page.