During the first half of the 1940s and in the context of World War II, Disney studios produced a large number of propaganda films with the support and supervision of the US government. Among these were Saludos Amigos (1942) and The Three Caballeros (1944). two animation films to strategicaly improve diplomatic relations with Latin America. Although various authors have studied both productions, they have generally been indifferent to the dimension of sound and music, a component that turned out to be one of the most persuasive and strategic resources deployed by the US government, through the film industry, to appeal to the emotionalities of American audiences in pursuit of its hegemony pitied. This article analyzes both productions' music to help counteract this by thinking about how it contributes to reinforcing their propaganda language. Likewise, towards the end of this article, a brief reflection on childhood is offered, both as one more recipient of a propaganda language abundant in chaos, sexualization, and other narrative elements close to Hollywood's representational language, but far from other Disney productions of the period and the cultural codes related to childhood. In addition, it reflects on the indifference towards childhood present in the academic literature reviewed, this despite the close relationship of Disney productions with the children's world.