Abstract: In the works of the Latin American composers we can notice a consistent trend towards the compositions reflecting the specificities of world perception of residents of the region, in which the autochthonous elements of the folk music of Indigenous and Afro-American People are being interpreted by the means of the most recent composer’s techniques. A similar phenomenon in literature was dubbed the “magical realism”. Marlos Nobre (born in 1939) is one of the brightest representatives of Brazilian composer’s school; his music is known for emotional saturation, explicitness of form, as well as testifies of composer’s virtuosic technique. Nobre’s oeuvres “Ukrinmakrinkrin”, “Yanomani”, and “Kabbalah” are inspired with the magic of “miraculous reality” of Latin America. In composer’s works we can observe a fusion of the three diverse components – avant-gardism, as synonym of the novelty and experiment; neoclassicism, as reliance upon the professional art of the past; and neofolklorism, as embodiment of the modern interpretation of the problems of folk character. However, we should underline Nobre’s Brazilian ethnicity, which is manifested in his ideological-conceptual, as well as technical aspects of his compositions.