In a New York Times concert review on June 23, 1968, music critic Allen Hughes wrote:

Beneath Hughes's sincere optimism lay a definite unawareness of Latin American contemporary music landscapes and, consequently, an interpretation grounded in stereotyped expectations for Latin Americans vis-à-vis North Americans and Europeans. In his opinion, these Latin Americans managed to create new music of distinctive taste, full of optimistic expressions, far removed from the serious and dogmatic avant-garde sounds from the North. One could infer that, for him, Latin America and avant-garde aesthetics had been, until that very moment, incompatible.

Something he might or might not have recognized in the first place is that the five composers in question—Rafael Aponte-Ledée, alcides lanza, Armando Krieger, Edgar Valcárcel, and Antonio Tauriello—were all affiliated with a highly influential musical institution: the Centro Latinoamericano de Altos Estudios Musicales (CLAEM; Latin American Center for Advanced Musical Studies). Now, over...

You do not currently have access to this content.