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Abstract:

The article examines the most important stage in the history of Latin American music of the 20th century, when a qualitative leap in the development of the composer schools of Cuba, Mexico, Brazil and Argentina took place. This refers to the new socio-cultural situation of the 1920s–1940s and the deeply individual refraction of the ideas of the European avant-garde in Latin America. An unprecedented interest in archaic layers of culture and at the same time a modern complex language gave rise to a unique response in the work of leading Latin American composers. Thus, under the influence of the works of I. Stravinsky, B. Bartok, M. de Falla and others, a wave of fascination with African and Indian traditions arises, ranging from Afro- Christian rituals (Santeria in Cuba) to various genres of urban music-making (choro, son, tango, etc.). Alejo Carpentier played a key role in the process of establishing Negristic tendencies in Cuban and, more broadly, Latin American art. His works on music revealed a deeply individual view of the relationship between the cultures of the Old and New Worlds, as well as the work of Stravinsky. In the context of correlating “one’s own” and “foreign”, local and universal, the most significant works of Roldan, Chávez, Revueltas, Villa-Lobos and Ginastera are considered, the novelty of whose musical thinking and language is conditioned by the dominance of the rhythm-percussion complex.