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The expressive culture, including the music, of the ethnic groups of the United States has not been given much scholarly attention. What little has been done has often relied on models like decline and loss of Old World traits. If revivalism is mentioned, it seems to allude to what is sometimes called “retribalization”. Few researchers have followed up on the fascination of what the Canadian folklorist Robert Klymasz called the “immigrant folklore complex.” In a 1973 article, he wrote of a “dynamic state of flux replete with the various tensions, seeming contradictions, and ambivalence that reflect the conditioning impact of the acculturative process in the New World” (Klymasz 1973:135).

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The article positions the film music of the five Central Asian countries*former Soviet republics*in global cinema. It then outlines and illustrates the film music strategies open to local directors, drawing on selected films, mainly from the 1960s and 1990s.