Divertissement sériel, para nueve instrumentos, de Susana Baron-Supervielle (1910-2004), fue compuesta en 1952 durante los cursos de composición dictados por Hans-Joachim Koellreutter en la Escola Livre de Música da Pró-Arte de São Paulo, y estrenada por él en su primer viaje a Tokio en 1953. Al año siguiente se estrenó en París. Los rumbos que adoptó la circulación de esta obra remedan los caminos que transitó Susana Baron-Supervielle tras asumir el desafío histórico de practicar la música de su tiempo. Nacida en el seno de una familia vinculada a la intelectualidad porteña, y con lazos de parentesco que la ligaron a Francia, las primeras indagaciones en torno a la renovación de los medios y las técnicas para la composición musical las realizó en París hacia comienzos de los años treinta. A su regreso se radicó en São Paulo y, más tarde, integró la Agrupación Nueva Música liderada por Juan Carlos Paz en Buenos Aires. Este trabajo propone dilucidar las relaciones de Baron-Supervielle con el medio musical paulista; caracterizar su búsqueda compositiva mediante el análisis de la grabación de la obra citada y describir las redes interpersonales que surgen de la circulación de la obra.Divertissement sériel, for nine instruments, by Susana Baron-Supervielle (1910-2004), was composed in 1952 during the composition courses given by Hans-Joachim Koellreutter at the Escola Livre de Música da Pró-Arte de São Paulo, and premiered under his conduction during his first trip to Tokyo in 1953. The following year, it was performed in Paris. The path followed by the circulation of the work copies the ways adopted by Susana Baron-Supervielle after assuming the historical challenge of practicing the music of her time. Born in the bosom of a family close to the intellectuality from Buenos Aires, and with relatives in France, she made her first inquiries around the renovation of the musical language at the beginning of the 30’s. After that, she settled in São Paulo and, later, she was part of Agrupación Nueva Música leaded by Juan Carlos Paz in Buenos Aires. The aim of this paper is to elucidate the relations that Baron-Supervielle established with the musical environment of São Paulo; characterize her compositional practice through the analysis of the recording of the mentioned work; and describe the interpersonal nets that emerge from the circulation of the work. Born in the bosom of a family close to the intellectuality from Buenos Aires, and with family relationships in France, she made her first inquiries around the renovation of the musical language at the beginning of the 30’s. After that, she settled in São Paulo and, later, she was part of Agrupación Nueva Música leaded by Juan Carlos Paz in Buenos Aires. The aim of this paper is to elucidate the relations that Baron-Supervielle established with the musical environment of São Paulo; characterize her compositional practice through the analysis of the recording of the mentioned work; and describe the interpersonal nets that emerge from the circulation of the work.