This dissertation consists of three recitals of solo and chamber music for the viola by composers born in Latin America and Spain. The purpose of these recitals is to present non-traditional viola repertoire as well as promote lesser-known composers from these regions. All of the works included evoke the spirit of “baile y canción”, or song and dance, as they are all influenced or directly quote folk songs and dances indigenous to their respective countries. It is my hope that these works, some of which were quite difficult to obtain, will become staples of the viola literature as they offer not only technical and musical challenges but substantial rewards as well. The first recital featured the following works: Camargo Guarnieri (Brazil)- Sonata para Viola Astor Piazzolla (Argentina)- Dos Piezas Breves José Pablo Moncayo (México)- Sonata Joaquín Turina (Spain)- Scene Andalouse, Op. 7 The second recital featured the following works: Conrado del Campo y Zabaleta (Spain)- Romanza Lluís Benejam (Spain)- Sonata “Moments Musicals” Edino Krieger (Brazil)- Brasiliana Fransisco Fleta Polo (Spain)- Impromptu número 22, Op. 79 The third recital featured the following works: Paul Desenne (Venezuela)- Tango Sabatier Modesta Bor (Venezuela)- Sonata para Viola Manuel De Falla (Spain)- Siete Canciones Populares Españolas Francisco Mignone (Brazil)- Tres Valsas Brasileiras In researching this project, I was able to locate nearly seventy works for viola by composers from these regions. Most of these works were made accessible through Interlibrary loan or through various music publishers in Spain. It proved more difficult to find published works from Latin America due to their lacking publishing industry, so some performance parts needed to be created from manuscripts. Extensive program notes are available in both English and Spanish for all works performed upon request. Please contact Cassandra Stephenson at cassie.stephenson@gmail.com. It is my hope that this information will provide insight to future performers, as well as enrich their and the audience’s enjoyment of the literature.