This essay asserts a profound methodological affinity between Caetano Veloso's musical practice since 1969 and that of Bertolt Brecht and Kurt Weill's collaborative efforts from 1928 to 1930. No doubt a great deal - ideological, historical, and aesthetic - separates them as well. The historical differences are, however, brought into relief by their methodological identity; the ideological differences assume new valences in its light; and the aesthetic differences define the possibilities and limits of musical meaning in our own time.
Bertolt Brecht; Kurt Weill; Caetano Veloso; commodity; musical form