On May 5, 1900, Oscar Guanabarino wrote about the stage in the development of music reached in Brazil. For him, it would not be possible to talk about Brazilian music, but only about the music made in Brazil. According to Guanabarino, Brazilian composers were writing musical hybridizations that were stylistically of the European schools. For him, “the question of nationality is ill-fitting in the arts,” arguing that “it is necessary to note that artists often have two nationalities: the legal and the artistic.” Nevertheless, 1922 began a landmark year for these reflections, which led to the officialization of folklore as a discipline at the University of Rio de Janeiro in the 1930s. A heresy for Guanabarino! With these two antithetical approaches, Goldberg confronts us with the question: how can we understand the struggles between the diverging conceptions of music in Brazil and Brazilian music?