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For decades, political, social, and (lately) cultural historians have successfully challenged the orthodox history of the Mexican Revolution: a teleology of progress achieved through the beneficence of the postrevolutionary state. The official history of nationalist aesthetics and national identity -with its essentialist claims to mexicanidad or lo mexicano, its iconization of (male) cultural caudillos, and its close association of cultural nationalism with the state -has received less attention. The critical assessment of aesthetics now underway has focused on the relationship between indigenismo and the plastic arts, rather than music. 1 The orthodox history of music iconizes a few great men (for example, Manuel
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