Afterword
This chapter discusses how a US-focused mainstream concept of American experimental music within the art music tradition was cemented in the 1950s through the work of John Cage at a moment when he established professional connections with the European avant-garde. The chapter recognizes that before this moment, composers such as Henry Cowell had thought of American experimentalism in a more hemispheric way and included the activities of composers like Carlos Chávez, Alejandro García Caturla, and Amadeo Roldán in their genealogies. Rather than arguing for a revisionist type of history to include Latin Americans in these narratives about American experimental music, the chapter’s goal is to show that taking into account historical and contemporary Latin@ and Latin American understandings of experimentalisms not only may help us in redefining the social and political meaning of what has been constructed as mainstream musical experimentalism but also may play a central role in critically rethinking post–World War II narratives about music.