List of Illustrations
A Note on Editions and Translations
Acknowledgments
Introduction: Indispensable Ornaments
The Matter at Hand—“A Horrible Storm”: Nationalist Historiography and the Tonadillas—The Nature and Purpose of This Book—Kom/oide
1. An Evening at the Theater: An Imaginary Re/creation
The First Act (Which Here They Call “Jornada”)—Sainete: El Simple Discreto—Tonadilla: El Pintor y la Vieja—La Niteti: Second Jornada—Sainete (Entremés): La Verdad Desnuda—Tonadilla: La Avellanera y Dos Franceses, by Pablo Esteve
2. Players
The Companies—Training in Acting—Women in the Theater—Blas de Laserna, La Compositora (1777–1778)—Rehearsals—Players and Literacy—Oral and Aural Learning and Acting—Actor-Players and Musician-Players—The First Violin for Dances and Tonadillas—The Music Master—The Copyist—The Apuntador (“Apunte”)—Singing Style—Improvisation—Pablo Esteve, La Desdicha de las Tonadillas (1782)
3. Rhythms
Three Italian Styles—The Mediterranean Roots of Galant Style—Coplas and Paired Phrasing—Luis Misón, La Chinesca (1761)—Blas de Laserna, La Cómica y la Operista (1783)—The Italian and “el Ytaliano”—The Galant as the Unmarked—Training in Composition—The Seguidilla(s)—Boleras in the Allgemeine musikalische Zeitung—Minguet e Yrol, Arte de Danzar a la Francesa (1758)—Dancing the Seguidillas—Seguidillas as Populist Symbol—Ramón de la Cruz, El Pueblo Quejoso (1765)—Paradox of the Seguidillas—Seguidillas in the Tonadillas—Blas de Laserna, La Fuga de la Pulpillo (1784)—Blas de Laserna, La Lección de Música y de Bolero (1803)
Intermedio: On the Stage of the Metropolis
Metropolitan Solipsism—Enter la Mandinga—The Manguindoy—Historical Sketch—Treacherous Mirrors: Symbols of an Unfinished Conquest—The Spanish Rejection of Musical Mimesis—Exit la Mandinga—Cadence but Not Closure
4. Bandits
Jácaras, Jaques, and Social History—Bandoleros and Early Andalucismo—Majismo and Bandolerismo—María Ladvenant—Chinita (Gabriel López)—Jovellanos Is Incensed—Anonymous, El Guapo (Bocanegra) (ca. 1767)—Resistance, Rebellion, Revolution—Anonymous, La Jácara (1767)—Improvised Playing and Written Composition—Thirty Years Later—Blas de Laserna, Los Contrabandistas (between 1794 and 1803)—Manuel García, “Yo Que Soy Contrabandista” (1805)
5. Late Tonadillas
“The Grand Tragedy: Historical Sketch, 1793–1813—Between the Acts: The Madrid Theaters, 1793–1813—History as Dramatic Material—General Features of Late Tonadillas—Tonadilla Canonicity— Blas de Laserna, El Ensayo (1805)—Another Afternoon at the Theater: Teatro del Príncipe, 25 August 1806—Isidoro Máiquez and Antonia Prado—Manuel Quintana, Pelayo (1805)—Ramón de la Cruz, El Triunfo del Interés (1777)—Pablo del Moral, El Page Tonto (1799–1809)
Fin de Fiesta: Las Músicas
La Raboso—Blas de Laserna, Las Músicas (1779)—The Limits of Re/creation
Appendix. Longer Music Examples
Notes
Bibliography
Index
