Levy disputes the notion that Mesens abandoned music in favor of collage and poetry in the 1920s. He draws attention to evidence that Mesens continued to play the piano as late as the 1960s; notes his roles as music critic and music editor; and points to his continuing production of works which blurred the boundaries between image-making (collage and graphics) and musical composition. Levy concludes that, while Mesens may well have altered the parameters of music, he cannot be said to have abandoned it.
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