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From a case study on the exchange of folk records between the Discoteca Pública Municipal (DPM), linked to Departamento de Cultura de São Paulo and the Music Division of the Library of Congress in Washington (LOC) during the period of the World War II, it is intended to study sound objects and practices related to phonography as mediators of cultural and technological exchanges. Under the auspices of the Good Neighbor Policy and funding from the War Emergency Fund of the US State Department, the agreement between the two institutions not only promoted the exchange of phonographic material on music from the Americas to be appreciated by scientific and artistic media, but it would also have favored an exchange of technological knowledge at a time when countries in America were engaged in the formation of sound archives of folk music. In this context, the recording, conservation and diffusion of folk music on acetate discs at 78 rpm would be important tools for the construction of sound imaginary of collective identities. We will seek to understand to what extent the exchange was considered a "war emergency" by the United States government and how the Municipal Public Discoteque project, designed by Mário de Andrade and directed by Oneyda Alvarenga, would have benefited from the partnership, despite the initial refusal revealed in the correspondence analyzed. The research will start from the hypothesis that, despite the apparent resistance to integrate the US government project, the Sao Paulo institution accepts the agreement for the technological benefits that would guarantee the preservation and diffusion of phonographic material in Brazil.

Fonografia em trânsito: o intercâmbio de discos entre a Discoteca Pública Municipal de São Paulo e a Biblioteca do Congresso em Washington (1939-1943)