Latin American classical vocal repertoire is vast, but in the United States, we only hear a fairly limited part of this literature. Much of this repertoire blends western European classical music traditions and native folk music traditions. One example of such a Latin American vocal work that is well-known in the United States is Alberto Ginastera's frequently performed song set from 1943, Cinco canciones populares argentinas. However, another lesser-known, earlier work, Cinco canciones argentinas (1923), by fellow Argentine composer Pascual De Rogatis (1880-1980) deserves attention as well. As with Ginastera's set, De Rogatis' songs are based on Argentine folk genres, but contain stylistic features of European classical music of its time. De Rogatis' neglected songs are a significant, overlooked part of Argentine classical music history, and a full understanding of well-known works such as Ginastera's song set and of the genre as a whole, must include attention to De Rogatis' Cinco canciones argentinas. Beyond vocal repertoire, De Rogatis' songs are an important part of the development of Argentine classical music. While Western musical trends change rapidly, folk music remains largely unchanged. Both De Rogatis and Ginastera were proud of their Argentine heritage, and incorporated traditional music into their compositions. I …

The thesis here is that the Argentina of the 1940's provided a perfect matrix for the rise of a charismatic leader. Juan Perón did not emerge as an European-style fascist or the traditional Latin American dictator. Rather, he was called forth by his environment to exercise authority over his followers in a leader-mass, savior-disciple relationship. Perón's base environment was Argentine. Thus, Argentine patterns, values, and culture outlined the scope and methods of his rule. For this reason the total social and political behavior of the Argentine people will be studied and equated with the Perón phenomenon.