ABSTRACT
Unfinished and ambitious, The Banquet [O Banquete], last of Mário de Andrade’s musicological writings, illustrates the conflict between the idea of a musical nationalism and its rupture by means of a European theory of avant-garde composition. The essay is a sort of dialogue with Dodecafonism which was introduced in Argentina in 1934 by Juan Carlos Paz and in Brazil in 1937 by Hans Joachim Koellreutter.
KEYWORDS
Transnationalism; artistic hybridisation; crossing boundaries