Can you tell me a little bit more about that history and about what you and your colleagues are working on in that respect?

Sure.

So I encountered a number of years ago in the archive of the American Jewish Historical Society in New York at the Center for Jewish History.

I said correspondences between the Sargentine composer Jacobo Fischer and Aaron Copland from 1940.

And in the letters, Jacobo Ficher, under the auspices of the institutional support of the Sociedad Hebraica Argentina, the Hebraic Society of Argentina, which was a cultural center, he writes asking for a selection of Jewish music, noting that there is no Jewish music really here in Argentina.

And it, of course, caught my attention, both the direct usage of the concept Jewish music and the direct correspondence between an important musical figure here and Aaron Copland, of course, a very important musical figure in the United States during this period of time of the good neighbor policy and the expansion of cultural imperialism in Latin America from the United States.

And so tracing those networks and understanding the existence of those networks in the Jewish musical world was something that I, of course, put my finger on at the time.

And that