A third type of American musical nationalism may be dubbed “primitivist,” a term implying something different from the primitivism which for a time was current in European culture. Reference here is not necessarily to an interest in the culture of the Indians, whether the primitive of North America or the more highly developed of Central and South America. Primitivism of this variety is related to frank rebellion against European culture and is a vague and overstrained yearning for a type of quasi-music that is to be completely new, and in which one could find refuge from the demands, conflicts, and problems of contemporary culture manifesting itself everywhere. It is expressed in superficial experimentalism, not to be confused, in its basic concepts, with experimentalism concerned with the problems of contemporary music and culture. Actually, as happens frequently in matters of contemporary art, the two types of experimentalism are sometimes found in association, in a rather strange admixture. It would require special analysis--one which has no bearing on the present discussion--to dissociate them. One cannot entirely ignore this trend, however, a current always existing in one form or the other, though never achieving importance. * * * * * One might possibly add one more brand of nationalism to the folklorist, evocative, and primitivist--the attempt to base a national style on jazz. Such classification is of course artificial and of purely practical value. While folklorism, the evocation of American images, and the type of primitivism we have been discussing, are related exclusively to American backgrounds, jazz, on the other hand, though it originated in this country and is considered a product of our culture, has had an influence on music outside the United States. It has taken root in Europe and developed European modes on European soil, not as an exotic product, but as a phenomenon which is modern rather than exclusively American. This author will never forget an occasion at a little restaurant in Assisi, in the shadow of the church of St. Francis, when he had to ask that the radio, blaring forth genuine jazz, be lowered so he might talk quietly with his colleague Dallapiccola; or another occasion in an Austrian village hotel, where jazz--also genuine though not of the highest quality--was constantly heard, either from a local dance band or on the radio: it was craved more by the young German, Dutch or Danish guests than by the Americans there. Jazz--unless one insists on an esoteric definition--has become, or is about to become, an international phenomenon like other mass-produced goods which, originally manufactured in the United States, lose their association with it and are assimilated elsewhere.