2 /ndausan Nusc and thcCun/igu: dc un/u AuriuManuel PedroFerreira When the question oftherelationshipbetweentheCantigasdeSanta MaraandmedievalHispano-Arabicmusicisraised,theshadowof Julian Ribera's partial musical edition of the Cantigas, published in 1922, cannotbe avoided. 1InRibera'sedition,theAlfonsinesongs are presented as derivatives of classical Arab music,and transcribed according towhatRiberathoughtwastypicallyArab;asaconsequence,their original notation was often disregarded.Ribera's approach came under heavy critcism from professional musicologists, amongst them Higinio Anges,who inhis monumentalwork of1943-58buried-seemingly for good-scholarly pretensions to read Arb music into theCantigas.2 In the past half-century(1943-93),the pro-Arabstancehas therefore beenconfinedtotheperormingdomainasakindofcolouristic exotcism, of doubtful historical seriousness, which is sometimes made vaguelyrespectablethroughmentonoftheIslamicinstrumentsdepicted inoneofthemanuscriptsourcesoftheCantias(MSE).This tendencytovalueinstrumentalcolourcanbeexplainednot only on thebasisofRibera'sclaimthattherepertoryhasan'orchestral' character, 3 but also in relation to the history of the modern 'early music' movement; in actual practice, instrumental colour has been ser ved as a kindofdressingaddedtoAnges'stranscriptions,whichhavebeen generally accepted byperformers. AlothasnonethelesschangedafterRibera'seditioninour knowledgeofmedievalArabmusic;andourunderstandingofthe original notationoftheCantigas has prgressedinthe past fewyears. The tme has cometore-evaluate the Arabquestion from a scholarly pointofview. 8MANUEL PEDROFERREIRA Thefirstthingtodoistorephrasethequestion,substituting 'Andalusian'for'Arab'.Moorish-Andalusian(orIbero-Arab)musicis notjust,orevenmainly,Arabmusicperse.Itisahy bridWestern traditionwhichevolved independendyfromorientaltrendsfromthe ninth centuryonwardsandreacheditshighestlevelofintegrationof Western and oriental elements in the twelfth century. 4The originality ofAndalusianmusic,whencomparedwithotherWesternmedieval traditions,istobesoughtprimarilyintheaspectsofformand rhythm.FormrepresentsthePeninsularindigenouselement;rhy thm theArabone. ThequestionofmusicalforminmedievalAndalusiansonghas generally been ignored; recendy, Vicente Beltran and, most importandy, DavidWulstanhavefacedtheproblemandattemptedtogiveita solution. 5Bothtakeastheirstarting point theformalstructureofthe poems, towhich theyremain anchored astheironlysecureevidence; naturally, since the textual data gives minimal musical information, their conclusionscannotbe firmlyfoundedfromamusical pointofview.I have therefore taken the opposite apprach: to startwith the surviving music fromMoorishAndalusia. Myworkwasmadepossiblebytherecentpublication,byJames MonroeandBenjaminLiu,ofninesurvivingazjal andmuwashshahat composedinAl-Andalusbetweenc.IIOOandthemid-fourteenth century. 6 Ascomplementarydata,I haveusedtheanalysisof arepresentativesamplebothoftoday 'sNorthMricanmusicofAndalusian origin7andofthemuwashshahoraltraditioningeneral. 8 Theresults of this undertaking, whichI will summarize here, will be published in detail elsewhere.9 The main conclusion is that themuwashshah and the symmetricalzajalseemoriginallytohavehadmainlytwokindsof formalscheme,correspondingtothevirelai(AIIBBBA,A II CCCA)ortoaspecialkindofrondeau(AII BBBA,[... ]ABA).Thezajal proper,textuallyasymmetrical,musthavehadrelated schemes,forthezajal andthemuwashshaharetwofacesofthesame tradition. 10 At this juncture,theexampleoftheCantigas de Santa Maria hasto betakenintoaccount.Poeticallyspeaking,mostofthemhavethe zajal form.Musically,theytendtopresent thevirelai form,whichas we have seen isalsocharacteristicof themuwashshah.In itself, this fact isnotconclusive,fortheFrenchvirelaicouldbetakenasboththe poeticalandmusicalmodelfortheCantigas;theonlyproblemwith this hy pothesis isthatthevirelai hardlyexisted inFrance before c. 1300, ANDALUSIANMUSICAND THECANTGAS9 whiletheCantigaswerecomposedbefore1284;thisfactledWilli ApeltoproposeaSpanishoriginforthevirelai. I IMoreover,inthe Cantias theinfluenceof the Frenchrondeau is slightwhencompared withtheimportantpresenceofthereversekindofrondeau(AIIBB A),alsocharacteristc,mutatismutandis,ofthemuwashshah;thisis foundin more thanseventy cantigas. I2Since this lastformis virtually unknownelsewhereinmedievalEurpe, 13itisprobablyindigenous; andsincetheCantiasweremosdycomposedinaculturalenvirnmentwheretheIbero-Arabpresencewasstronglyfelt,itprobably derivesfrmthezajaloritsmozarabiccounterpart.TheCantigasde SantaMariaappeartherefore,frmaformalpointofview,toencapsulatetypicalfeaturesofmedievalAndalusianmusic:thevirelaiform andwhatIpropose to call the Andalusianrondeau. Letusnowturnourattentiontorhythm.Rhythmisintrinsically linked with the musical notation of the manuscripts. The notation has been variously described by diferent authors, depending on the interpretative model used to apprach it. Hendrik van der Werf, for instance, comparedthenotationwiththelate-thirteenth-centurFrnconian system,andinevitablyconcludedthattheAlfonsinenotationisnot Franconian, I4which is hardly surprisingsince thissystemwasformulated in writing only around1280, when most of the Cantigas were in theprocessofbeingcopied. ISItdoesnotfollow,though,thatthe Alfonsine notation lacks a mensural character, for there were mensural systems in existence before Franco of Cologne. On the contrary, I think that it can be prved that the mensural dimension is an important one, regardlessof howwechooseto interpret it. 16 Interpretationisaboutwaystomakethedatahistorically intelligible.Angleswasrightwhenheacceptedthenotationasit standswithout trying to forceit into preconceivedmoulds,as Ribera did;healsorealizedthattherhythmswrittendownbythecopyists were often equivalent to the contemporary French patterns known as 'rhythmicmodes' , but that thiswasnot always true.Unable to accept Ribera's hypothesis of anArab derivation, hechampionedthetheory ofafolkloricoriginforthecasesofnon-modalrhythm;needlessto say,the'folkmusic'labelcouldembraceeverything,andbecauseof this generality couldbe neitherproven nor challenged;it was an easy way out of the problem. In my own work,I have expanded the framework of possible pre-existing models-French developments of modal rhythm,trubadouresqueisosyllabismandtherhapsodicrhythm found in the cantias d'amigo; since even this large range of possibilities 10MANELPEDROFERREIRA doesnotexhausttherhythmicvarietyfoundintherepertory,Ihad eventuallytoconfrontthelong-discreditedhypothesisofanAndalusianconnection. AccordingtooneoftheleadingspecialistsinArabmusic,Baron Rodolphed'Eranger,'lerythmeest,enmusiquearabe,1' element principaletpreponderantdetoutecompositionvocaleouinstrumentale'.HealsoremarksthattherhythmicsystemusedbyArab musicianstodayissubstantiallythesameasitwasduringthefirst centuriesofIslam. 17Thissystemisbasedontheprincipleofperiodicity:therepettionofarhythmicperioddefnedbythenumberand qualityoftheattacksandthetimeelapsingbetweenthem.Thistme isstricdymeasured,meaningthatitiscountedinunitsoftime. Amongtheancientmusictheorists,Al-Farabi(d.950)istheonlyone whotriestodescribeactualmusicalpractice,insteadoffollowing Greekmusictheory;18 heeschewstheGreekdefnitonofthebasic tme-unitastheshortestperceptibletimevalue,choosinginsteadas tme-unitacompoundtime,asArabmusiciansdotoday. 19According toAl-Farabi,a rhythmicperiodistypicallycomposedoftwo identcal rhythmiccycles.Acycleisarepeatedrhythmicpatternsuperimposed on a given metre. From an abstract pointof vieweach cycle has a basic form inwhich all theattacks are separated byequal tme-intervals,and thelastattackisfollowedbyasilenceofthesamelength(the disjuncton).Inactualpractice,thisbasicschemegiveswaytomore complexrhythmicpatternswhichhavethestatusofstandardmetric fngs.These metric flngs can be varied overawide range,andtwo diferentvariantscanbe joinedtogether inaperiod.Al-Farabi himself listsalargenumberofrhythmicperiodsderivedfromeachofthe sevenbasicmetres,anddescribestheconventionalvariationprocedureswhich leadtothem; his list is notexhaustve,ashesimplywants toshowhowthesevariationprceduresworkinpractice.20 Inthefollowingexamples,thespacingbetweentwoapostrophes ( 11)illustratestheminimum time-unit;ifan audibleattackmarksthe beginningofatime-unit,itwillberepresented(I1);timesignatures willbeusedforconvenience,theminimumtime-unitbeing equivalenttoaquaver. Whenthechosen metreisthe'FirstThaqil'(or'First-Heavy') (a) (412) 11111111 I 1111111 doublingoftheattackswlprducethefollowingpattern: .NDALUSIANMusicAND THECANTIGAsI I (b) (412) I I I I I I I I I I I IIIII Addingaloudattacktoallowaproportionaldisjunctionwillchange itinto: (c)(412) 1 1 1 1 1 1 1 1 1 1 1 1 1 1 11 Ifwereproducethiscycletwiceinarow,wehaveoneoftheforms ofthe'First-Heavy'rhythmicperiodlistedbyAl-Farabi. Anotherexampleisthe'Heavy-Ramal'metre: (a) (3l2) I 1 11 I 1 11 1111 Withanotherattackaddedforcontinuity,thischangesinto: (b)(312) I III I III I III andwithdoublingofthesecondattack,itbecomes (c)(3l2) I 1 11 I 1 I 1 I 1 1 1 whichcorrespondstoanotherformofthecyclementionedbyAlFarabi. Variatoncanalsoprducesyncopaton:ifwetakethecontinuous pattern,doublealattacksandthendropouttheffth,theresultis (d)(312) I I I I I I I III I I This is one of several syncopated cycles in Al-Farabi's list. If it is repeated once,wehaveahomogeneousrhythmicperiod;if it is combined,for instance,with the contnuous double-attackcycle,we haveanheterogeneousvariantalsolistedinAl-Farabi;ifcombinedwiththebasic 'Ramal'cycle,we havetheal-/afi rhythm,used in a thirteenth-century Andalusiancompositionwhichsurvives intoday'soraltradition.21 It is importantnottoforgetthat the musical traditionthat Al-Farabi describestrvelledWestfrom BaghdadtoAl-Andalus,whereitfound fertleground.Furthermore,Arabrhythmicperiodicityhasanumber offeatureswhichdistinguishitfromthemedievalWesternEurpean rhythmic traditon: the larger scale of some cycles and rhythmic periods, theuse of syncopation andthe importance of quadruple metremay be mentioned.Accordingy,whenamedievalrepertorycomposedin Spain,writtenforthemostpartprobablyinToledoorSeville,next door toaMoorish-Andalusianenvironment,uses large-scalecycles or periods,with syncopated patterns or in a quadruple metre, this is likely toreflectthe influenceofArabmusic. 12MANELPEDROFERREIRA TheCantiasdeSantaMariaaresucharepertory.Inthe'HeavyRamal'metre,thecombinationofvariants(c)and(d)listedabove producestherhythmicperiodfoundinCSM 92(Ex.1).Ifwetake theabove-mentonedform(c)ofthe'First-Heavy'cycleanddouble thesecondattack,weencounteravariantfoundinCSM 424.22If,in thesecondpresentationof therhythmicvariant,weaddafnalattack forsupport,asrecommendedbyAl-Farabi,wewillhavealong rhythmicperiodidenticaltothatfoundinCSM25(Ex.2).23The longrhythmicalperiodwhichbeginsCSM100hastwoversions whichdiferinthesecondhalf(Ex.3);theinitialversionsurvivesin theal-B!iylrhythmoftheAndalusiantradition(Ex.4);24both versionscanbedescribedasheterogeneousperiodsmadeupoftwo ofthe'First-Heavy'cycleslistedinAl-Farabi.25Inthissamesong, thereisanotherheterogeneousrhythmicperiodwhichsharesits secondhalfwiththesecondversionofthefirstperiod(Ex.5).The frsthalfpresentsacyclethat isanothervariationonthe'First-Heavy' metre,26 andisfound intheal-qa'im wa-nisf rhythmoftheAndalusian tradition(Ex.6).27CSM 353usesexclusivelythissamecycle.CSM II6usesarelatedrhythmicperiod,madeupofthissamecycle followedbythebasicformofthe'First-Heavy'metre(Ex.7).This periodisstrikinglysimilartothatfound intwosister-compositons by JuandelEncina,'Senoradehermosura'and'Unasaiosaporfia', which share thesame melodicopenings;28 and it is reprduced almost exacdyinthefrstversionof'Norabuenavengas'intheCancionero de Palacio. 29CSM 109 exhibits a more complex periodbased on thesame cycle,producedbyrepeatngpartofitinthemiddleoftheperiodavariationprocedurealsomentionedbyAl-Farabi(Ex.8). MedievalFrenchrhythmicaltheoryandthealternatvemodels mentionedaboveareunabletoexplaintheseseemingyanomalous facts,whereastheymakecompletesenseinthelightofArabian rhythmictheoryanditsinfluenceonAndalusiansong.Giventhe historicalcontext,onecannotbutreachtheconclusionthatatleast theabove-mentionedcantigaswereinfluencedbyIbero-Arabmusic. Thatbeingso,perhapsthereareothertracesofthisinfluence. Again,thefirstthingtodoistolookmorecloselyatwhatseemsto bearhythmicanomalyfromaFrench-centredperspective:dotted rhythm,whichisimpossibletowritewithinthenormalusageof thirteenth-centuryFrenchnotatonalsystems.Itcanbeobservedin seventeenoftheCantigas;30 intwoofthem itisusedtotheexclusion ofanyotherrhythmicpattern. 3'ThewaytheToledoandEscorial 1 E.2 Ex.3 Ex.4 Ex.5 Ex.6 ANDALUSIANMUSICANDTHECANTIGAS13 CSM424_ CSM 25. .. .. .. . . . . . CSM100 ,....~. .AI-Bayii . ,.. .CSM100 _. ... .Al-qa'im wa-nisf8 II:I 2, , c;_cc-Ex.7 Ex.8 CSM 353 | | . CSM116 _ [-] manuscriptssolvethenotationalproblemissimilar:theyaddabrevis tothelong,andthenwriteanisolatedbrevis;ortheyuseshort vertcal linesafterthelongtosignal itsultr mensuram quality,andthen writeanisolatedbrevis(Ex.9).32Therhythmicalmeaningofthese proceduresisclearfrmthediferentwaysthescribeschosetowrite downthesamemusicalidea,whetherinthesamemanuscript,when aphraseisrewrittenseveraltimes,orindiferentmanuscriptswhich havethesamesong;comparatveworkshows thatalongwithabrevis attachedtoitisrhythmicallyequivalenttoalongfollowedbyashort doublebar;italsoshowsthatthisaugmentedlongisequivalenttoa long followedbyaligaturecumopposita proprietate,orabinaryoblique ligaturefollowedbyabrevisoradoublebar. 33Sometmes he Escorial MSS substitutewhatseemstobe asemibrevis forthebrevis, 34 butthis caneasilybeexplainedasacaseofnotationalinerta-formsofthe Toledonotationwhicharereproducedwithouttranslationinthe Escorialnotation(Ex.10). The importantpresence in this repertory of dotted rhythm, ignored inthesurvivingGalician-Portuguesetroubadoursongsandinal the remaining written European music, can be explained through the influenceoftheAndalusiantradition.WehaveseenthatoneoftheAndalusian rhythmic cycles usesdotted rhythm; in the MiddleEast,it is also found in the Su. fyan rhythm;35 both derive from classical Arab rhythmic practice.Insomeof thesurvingmedieval Andalusian songs, 36 dotted rhythmispervasive:ittendstobeassociatedwiththesuccessive occurrenceofa longand ashortsyllable(Ex.I I). This prbably means that dotted rhythm was a standard declamation procedure in Ibero-Arab song,andthatitmayhaveinfuencedthecomposers oftheCantigas. AnotherfeatureoftheAndalusiantraditionistheuseofafive-beat metricpatternalreadylistedinAl-Farabi.Amongthesevenbasic musicalmetresacknowledged by thistheorist,threehave fivebeatsper cycle;each ofthem hasavariantwhichissimilartotheFrenchthird Ex.11 Ex.12 ANDALUSIANMusicANDTHECANTGASI 5 . " Qadniltuibbwa-jaqurbi ' ' ' '' '" L.. . .. . .Adirla-na'akwabyaslibi-ha1-wajdu ' ' ' ' ' ''-. . ..Man lha'im ' ''"L_Third mode e .e'Second-Light-Heavy', variant8 e .erhythmcmode,exceptthatthefirstlonghasonlytwounitsoftime insteadofthree(Ex.12).Thisrhythmicpatternsurfaces inaHispanoArabsongwhichhasbeenidentfedasamuwashshahandwaspartly transcribed,inthesixteenthcentury,byFranciscoSalinas(x.13a);37 theinfluenceofthispatternonfolkmusicisattestedtobyseveral traditionalsongswhchhavecomedowntousin polyphonicsettings byEncina,Anchietaandothers:itssurvivalmaybe illustratedhereby thesong'Tanbuenganadico'astranscribedbyJuandelEncina (Ex.13 b) .J8It can also be found in CSM 223-alternatve interpretations ofthenotationleading,inmyview,tounsatisfactoryresults(Ex.13c). Ex.13 (a) '|

ff

Cal- vivical - vical- via- r- VI {) 'I '' ''J'fJTanbuenga-na- di - co,ym:sental , ," ,,""" (c) ,*.|~ JJ14 .Jf'd 4 To- do -loscoi- ta- dosqueque-rensa 1., I Jt .u- dede -16MANUEL PEDRO FERREIRA Ex.14 , . , , ,I CSM339 'I ' |L-'='|LCaa-cor -reencoit'eenpe -sa Thislastcasemaynotbetheonlyone.Ithappens,ontheone hand,thatsomemelodies(Prlogue,CSM10and105)orisolated phrases(cfCSM 38,41)in theCantigas de Santa Maria are notated in suchawaythatboththefive-beatandthesix-beattranscriptonsare possible.Ontheotherhand,CSM 339hasaphrasewhichisclearly reminiscent,frombothamelicandarhythmicpointofview,ofthe Ibero-Arab song quotedby Salinas(x.14);itsnotation indicatesthe third rhythmicmode,which implies a six-beat metre instead of a fivebeat one;thissuggeststhat theuse of the thirdrhythmicmode could, insomecases,beseenasarhythmicvariantbasedonthe'LightRamal'metre,orindicateanotationaladaptationofanoriginal fvebeat pattern. Although the presence of the five-beat metre in theCantigas cannot beprvenwithabsolutecertaintydue to its notational ambiguity,the importantpresenceinthisrepertoryofAndalusianforms andArabic rhythmicfeaturesmakesithistoricallyplausible,andhelpstoexplain therelativelygeneroususeofthethirdrhythmicmodebyAlfonso's collaborators.Fromthispointofview,thepreponderanceofthe secondrhythmicmodeoverthe first in theGantias,especiallyin the ToledoMS,couldalsoderivefromthecoincidencebetween,onthe one hand the French second mode, and on theother the fundamental form oftheArab'Light-Ramal'metre. In short,although Anglesrighdyidentifed astrong French favour intheMarianCantigas,Riberawasalso justifiedinpointingoutits debttowardsAl-Andalus.Totheseimportantinfluencesonecould add those of liturgical music, the trubadours and the Galician-Portugueselovesong.Wehave to concludethatthisextraordinaryMarian collection juxtaposes andcombines anumberofmusicalstyleswhich we are just beginningto identif. NotestoChapter2 I. JulianRibera,LmusicadelasCantias:estudiosobresuorigenynaturaleza,con reproducciones fotografcasdeltextoytranscripcionmoderna(Madrid:RealAcademia ANDALUSIANMUSICAND THECANTIGAS17 Espanola,1922),meantas acompanionvolume toCantigas de Santa Marfa de Don AlfonsoelSabia,ed.LeopoldadelCueto,MarquesdeValmar(Madrid:Real AcademiaEspanola,r889),iii. 2.HiginioAngles,LmusicadelasCantiasdeSanta MarfadelRey AlfonsoelSabia, 3vols.(Barcelona:BibliotecaCentral,1964,1943,1958).Thelast-published volumeisafacsimileeditionofMSE. 3- Ribera,p.r 17:'siendotodaslasmelodiasdelasCantigasdestinadasaejecuci6n porvariasvocesypororquestranumerosa'. 4- Forahistoricalsummary,see ManuelPedroFerreira,'Rondeau andVirelai:Notes ontheMusicofAl-Andalus',Plainsongand MedievalMusic,forthcoming. 5- VicenteBeltran,'Dezejelesydansas:origenesyformaci6ndeIaestrofacon vuelta',RevistadeFilolog{aEspanola64(1984),239-66;DavidWulstan,'The Muwashshahand ZagalRevisited',journaloftheAmericanOrientalSocietyI02 (1982),247-64. 6.BenjaminM.Liuand JamesTMonroe,Ten Hispano-ArabicStrophicSongsinthe ModerOralTradition:Music andTexts(Berkeley:UniversityofCaliforniaPress, 1989)-7. LeoJ.Plenckers,'LesRapportsentrelemuwashshahalgerienetlevirelaidu moyenage',TheChallengeoftheMiddleEast:MiddleEasternStudiesatthe University ofAmsterdam, ed.LA.El-Sheikh,C.A.VandeKoppelandR.Peters (Amsterdam:UniversityofAmsterdam,1982),9I-III;JozefM.Pacholczyk, 'TheRelationshipbetweentheNawbaofMoroccoandtheMusicofthe TroubadoursandTrouveres',TheWorldof Music 25(r983),5-r6;id.,'Rapporti fraleformemusicalidellanawbaandalusadell' Africasettentrionaleeleforme codificatedellamusicamedievaleeuropea',Culturemusicali:quadernidietnomusicologia 3-5-6(r984),19-42.To the datapresentedinthesearticlessomemore analyticalinformationwasadded,basedonMoroccansources. 8. LoisIbsena!Faruqi,'Muwashshah:aVocalForminIslamicCulture',Ethnomusicolog 19(1975),r-29. 9- Ferreira,'Rondeau andVirelai'. ro.Accordingtothetraditionalview,theformerderivesfromthelatter,butthe reverseseemsnowtobemorelikely:Wulstan,'TheMuwashshah';SamuelC. ArmisteadandJamesTMonroe,'BeachedWhalesandRoaringMice: AdditionalRemarksonHispano-ArabicStrophicPoetry',LCor6nica13(1985), 206-42-Ir. WilliApe!,'Rondeaux,Virelais,andBalladesinFrench13th-CenturySong', Journal o the American MusicologicalSociety 7(1954),121-30. 12.Thiscalculationisbasedonthe tables publishedbyAngles,L musica, iiilra Parte, pp.397-400. 13.FriedrichGennrich,GrundrisseinerFormenlehredesmittelalterlichenLiedesals Grundlage einer musikalischen FomtenlehredesLiedes(Halle:MaxNiemeyer,1932), 67-8-14- HendrikvanderWerf,'Accentuation and DurationintheMusicoftheCantigas de Santa Maria', Studies on the 'Cantias deSanta Maria': Art,Music,and Poetr, ed. Israel).Katzand JohnE.Keller(Madison:TheHispanicSeminaryofMedieval Studies,1987),223-34. I 5- MostoftheoriginalswhichunderlaythefinalcompilationoftheCantigas(i.e. between250and300pieces)werewrittenbefore1280.Thecollectionis I 8MANELPEDROFERREIRA presumedtohavebeencompletedornearlyso bythetime Alfonsodied(1284). Onthedatingofthemanuscripts,seeManuelPedroFerreira,'TheStemmaof theMarianCantiga:PhilologicalandMusicalEvidence',Bulletinothe CantigueirosdeSantaMaria6(1994),58-g8. r6.Ihavedealtwiththisproblemelsewhere:ManuelPedroFerreira,0somde MartinCodax:sobreadimensiomusicaldaUricagalego-portuguesa(seclosX-XV ITheSoundof MartinCodax:OntheMusiclDimensionof theGa/ician-Portuguese Lyric(XII-XIVCenturies)(Lisbon:lmprensaNacional-CasadaMoeda,1986); id.,'BasesforTranscription:GregorianChantandtheNotationoftheCantigas deSanta Maria' ,LosinstrumentosdelP6rticodeIaGloria:sureconstruci6nyIamusic desutiempo,coord. JoseLopez-Calo(LaCoruia:Fundaci6nPedrBarriedeIa Maza,1993),ii.573-621. 17.BaronRodolphed'Erlanger,LMusiquearabe(Paris:PaulGeuthner,1959), VI.I,4 18.GeorgeDimitriSawa,MusicPerormancePacticeintheEarlyAbbasidEra,132-320 AH I 75o32AD(Toronto:PontifcalInstituteofMediaeval Studies,1989),16. 19. D'Erlanger,7 20.Sawa,46,54 21.LiuandMonroe,82. 22.InAngles'sedition,thissongisthesecondinthesecondAppendix[FJC2];its formbelongstothe 'Andalusianrondeau'type. 23.Thisistrueoftheversionrecorded inthe EscorialcodicesEandT,notofthe versioninTo. 24.D'Erlanger,148. 25.Sawa,'First-Heavy'cyclesnosu+3andu+9. 26.Thisvariant isarrivedatbyaddinganattackforcontinuity,doublingthisattack, anddroppingoutthefrstarticulation. 27.LiuandMonroe,82. 28. Juandel Encina,Poes{aUricayCancioneroMusicl,ed.R.0. JonesandCarlyn R.Lee(Madrid:Cast alia,1972). 29.TheCancionerodePalacioshowsafewstrikingcontinuitieswiththeCSM:for instance,therhythmicpatternminim-crotchet,minim-crtchet,crotchetminim,minim-crotchet(ordottedminim),whichoferrcursinthisrepert ory, canalreadybefoundinatleasttenCSM (34,46,104,199,232,295=388,300, 328,345and398). 30.CSM 1,26,37,47,51,61,88,89,101,109,II2,u6,u8,158,193,353and 393SeealsoCSMroo,315and352. 31.CSM II8and393 32.Thedoublevertical linemayalsobeused attheendofamusical phrase orpiece, withno apparentrhythmical consequences(seeCSM 123,159,r6o,341,386and 394).TheCantigas88andI 16usealongwithadoubleverticalbartomean eitherlongplusbrevis,whenfollowedbyabrevis,ordoublelong,when followedbyalong(inCSM 88,theToledoMSmakesitclearthatinthelatter casetheaugmentationappliestoathree-temporalong. 33SeeCSMr,47,51,89,II6and393. 34CSM 37,47,193and353 35D'Erlanger,53 36.LiuandMonroe,s ongsI,III,V(occasionally inother compositions). ANDALUSIANMUSICAND THECANTGAS19 37FranciscoSalinas,Demusiclibriseptem{Salamanca,1577).ItisthesongCalvivi clviI Calviaravi('Myheartisin[another]heartI[because]myheartisarabic'), quoted by Gi Vicente in both theComedia de Rubena andtheTragicomedia deDon Duardos;seeEmilioGarciaGomez,'Lacanci6nfamosaCalvivicalviICalvi arvi',Al-Andalus21(1956),1-18,215-16,and Juan JoseReyDanzascantadas enelRenacimientoespafol{Madrid:SociedadEspanoladeMusicologia,1978), 25-6.Salinas'smusicalquotation waswronglytranscribed{in618)by Angles,L music,iii/2"Parte,p.440. 38. ]uandel Encina,Poes{aLric,pp.45,294,354;seealsothecommentaryby ManuelPedroFerreira,inCancioneirodaBibliotecaHortensiadeElvas{Lisbon: Instituto PortuguesdoPatrim6nio Cultural,1989),pp. ix-x.Onquintuple-time SpanishsongsfrmtheRenaissance,seeMariusSchneider,'Studienzur RhythmikimCancionerodePalacio',Misce/aneaenhomenajeaMonseforHiinio Angles{Barcelona:CSIC,1958-1),ii.833-41,andRey,Danzascantadas,30-3. CobraseSon Iapcr: cn lhc Tcxl, Au:i: anAanu::ripl:cjlhc 'Canliga: c 3anlaAaria' EDITEDBY STEPHENpARKINSON LEGENDA EuropeanHumanities ResearchCentre UniversityofOxford Modern Humanities Research Association 2000