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The phenomenon of religious and social syncretism--the gradual process of reconciliation, growth and synthesis of diverse tenets or practices--has been the subject of detailed studies where the essence of Latin American modern culture is described. The purpose of the ensuing paper is to address and examine in similarly detailed fashion the various sources, compositional techniques and aesthetic aspects that interact in the creation of a syncretic musical style, specifically the work of Mexican composer Silvestre Revueltas (1899-1940). Throughout this examination, some of the dichotomies that are frequently employed in the analysis of Twentieth-century art--popular vs classical, traditional vs commercial, nationalist vs internationalist--are revised and challenged upon considering the crucial role that commodification and appreciation play in defining the above classifications. Special emphasis is given to the fact that, while Revueltas is usually cataloged as a member of the Mexican School of (Nationalist) Composition, the absence of appropriationist/incorporative compositional approaches in his work, along with his utilization of Geometry, Cubism, Architecture, and cinematographic technique as musical metaphors place him as a composer of unique, syncretic magnitude. Musical analysis of two chamber works supports the examination of the composer's stylistic features: Planos (1934) and Homenaje a Federico Garcia Lorca (1936). The essay includes extensive discussion about the contribution of the following technical features in defining Revueltas' syncretic style: choice and manipulation of harmonic materials based on polytonality, pandiatonicism, and intervallic adjacency; use of formal procedures based on mosaic-like deployment and linear-layered structures; and utilization of rhythm as a generating force. The correspondence of the above procedures with those found in the music of other relevant composers, such as Chavez, Stravinsky, Varese, Messiaen and Ligeti is also addressed. Included is a biographical profile where Revueltas' sui generis upbringing in Mexico and the U.S., his relationship with the Mexican musical establishment, political involvement, and his overall philosophical attitude are discussed. There are four appendices illustrating the use of motivic/formal structures in Planos and Homenaje a Federico Garcia Lorca, a complete list of compositions by Revueltas, and a bibliography.