List of Works Consulted
Aunos, Don Eduardo and Don Julio Gomez: El musico Blas de Laserna (Corella, 1952).
Chase, Gilber
+ “Spe
Cockburn, Jacqueline and Richard Stokes: The Spanish Song Companion (London, 1992).
"he Music of Spain (New York, 1959).
in A History of Song (New York, 1960).
Cotarelo y Mori, Emilio: Don Ramdn de la Cruz y sus obras (Madrid, 1899).
Hamilton, Mary Neal: Music in Eighteenth Century Spain (Urbana, 1937).
Katz, Israel J.: “Flamenco,” in The New Grove Dictionary of Music and Musicians, Vol. 6 (Lon-
don, 1980).
Lacome, P. and J. Puig y Alsubide: Echos d’ Espagne (Paris, 1872).
Ladefoged, Peter: “Some Reflections on the IPA,” in Journal of Phonetics, 18, 335-346 (1990).
Laparra, Raoul: Bizet et L' Espagne (Paris, 1935).
Mitjana, Rafael: “La musique en Espagne,” in Encyclopédie de la musique et dictionnaire du
Conservatoire, part I, Vol. 4 (Paris, 1920).
Nin, Joaquin: Quatorze Airs anciens d’ auteurs espagnols, 2 vols. (Paris, 1923).
Océn, Eduardo: Cantos espafioles (Malaga, 1874).
Pedrell, Felipe: Cancionero musical popular espafiol, Vols. II and IV (Valls, 1918-22).
, Teatro lirico espafol anterior al siglo XIX, 5 vols. (La Coruiia, 1896-98).
Radomski, James:
1992).
jarcia, Manuel,” in The New Grove Dictionary of Opera, Vol. 2 (London,
Starkie, Walter: Spain: A Musician's Journey through Time and Space, 2 vols. (Geneva, 1958).
Stein, Louise K.: “Acis y Galatea,” in The New Grove Dictionary of Opera, Vol. 1 (London, 1992).
Stevenson, Robert: “La Caramba,” in The New Grove Dictionary of Music and Musicians, Vol. 3
(London, 1980).
“Spain,” in The New Grove Dictionary of Music and Musicians, Vol. 17 (London, 1980).
Subird, José: La tonadilla escénica, Vol. 1 (Madrid, 1928).
Trend, J.B., et al.: “Cante hondo,” in The New Grove Dictionary of Music and Musicians, Vol. 3
(London, 1980).
60 m Spanish Theater Songs: Baroque and Classical Two women of nobility whose attire attests the lasting popularity of the large hairbows
associated with Caramba. The Duchess of Alba was one of the ladies who were ridiculed
ina tonadilla written by Pablo Esteve and sung by Caramba.
Portrait ofthe Countess of Carpio, Marquesa de la Solana, c. 1793,
‘by Francisco Jose de Goya y Lucientes (1746-1828).
Oil on canvas, 181 x 122 0m.
Louvre, Paris, FrancelBridgeman Art Library, LondoniNew York,
‘The Duchess of Alba, 1795, by Francisco Jose de Goya y Lucientes (1746-1828)
Oil on canvas, 194 x 130 em.
Palacio de Liria, Madrid, Spain!Bridgeman Art Library, LondonINew York.
‘Spanish Theater Songs: Baroque and Classical @ 61 by René Aravena
‘The pronunciation of the songs included in this anthology follows the phonetic rules of Stan-
dard European Spanish. The phonetic transcription of the texts follows the directives of the Inter-
national Phonetic Association, which is the organization which publishes the International Pho-
netic Alphabet. I have used the version approved by the association in 1993. The only instance in
which I depart from these directives is in the marking of the primary stress of a word. The IPA
uses the symbol ['] placed before the stresssed syllable; I prefer to use the symbol [’] placed over
the vowel of the stressed syllable.
IPA This book
emphatic [em'fetik] emphatic [emfséuk]
The symbols e] and [0] represent the written
and respectively. For singing purposes
the Spanish [e] is a sound between the closed English [e] of [bert]! and the open [e] of
[bet]. Similarly, the Spanish [o] lies between the closed English [0] of [bout] and
the open [9] of [bot].
Diphthongs (combinations of a glide and a pure vowel) are notated according to the position
of the glide: if the glides precede a vowel, the symbols [j] and [w] are used. If the glides follow a
vowel, then the symbols {i] and {y] are used. Ex:
Glide Preceding a Vowel Glide Following a Vowel
viento [bjénto] veinte [béinte]
vianda [bjénda] vaina [béina]
viola [bjola] boina [béina]
viuda [bjdida] muy [mui]
cuita (kwita] tiuque [tiuke]
cuete [kwéte] teutén [teyton]
cuatro [kwatco] taurino [tayrino}
cuota [kwota] bou [bou]
The coalescence of the last vowel of a word with the first vowel of an adjacent word into a
single syllable is called synalepha and is characteristic of the Spanish language. The symbol [_]
is used to mark this feature when the vowels are different. When the vowels are the same, they
are merged into one syllable.
Ex.: [lo_alto], [se_oje], [la_idea],
[kesperén®al, [laldéa], (lokult6).
Assimilation, the effect of one consonant on an adjacent one, does not occur in slow or mod-
erate tempos in singing. It does occur in fast singing and speech. An example of assimilation in
Spanish is the voicing of [s] into [z] before a voiced consonant; for example, the word is
not pronounced [asno] but {azno] because of the voiced [n]. This occurs naturally and is not spe-
cific to the Spanish language. The same applies to the velarization of (n] into [p] when followed
by a velar consonant, that is, a consonant formed by contact of the back of the tongue against the
soft palate. Ex.: tengo [tengo], cinco [sinko]. This book’s transcription for these words is: [tengo]
and [sinko].
"To avoid confusion I use square brackets [ _] to enclose a phonetic transcription and angular brackets < > to
enclose the written letters, words or phrases.
‘Spanish Theater Songs: Baroque and Classical Ten Pitfalls to Avoid When Singing in Spanish
1. Never aspirate [p], [t] and (k]. Instead use the unaspirated sounds found in the words ,
and respectively.
2. Do not sing and like [ov] and [et] respectively.
Avoid the tendency of using a schwa [3], especially in unstressed syllables.
4, Do not use [b] or [g] every time you see a or . They are used only after a breath or a
nasal consonant. Use [] or [¥] everywhere else.
5. Do not use [d] every time you see a . It is used only after a breath or after or .
Use [8] everywhere else.
Never use [v]. It does not exist in Spanish.
Never use a velarized [4]. It does not exist in Spanish. Use the [I] of instead.
Never use [h] instead of [x]. [h] does not exist in Standard Spanish.
‘Never use [1] or [2+]. Use the tap [£] or the trill [r] instead.
Never use [j] instead of (i).
»
Sewers
Recommended Books on Spanish Pronunciation
Dalbor, John B. Spanish Pronunciation: Theory and Practice. Holt, Rinehart & Winston. New
York. 1969.
Hadlich, Roger L., James S. Holton, and Matias Montes. A Drillbook of Spanish Pronunciation.
Harper & Row. New York. 1968.
Macpherson, I. R., Spanish Phonology: Descriptive and Historical. Manchester UP. Manchester.
1972.
Stockwell, Robert, and J. D. Bowen. The Sounds of English and Spanish. University of Chicago
Press. Chicago. 1965.
Recommended Spanish/English Dictionary
Simon & Schuster’s International Spanish Dictionary. 2nd ed. Macmillan. New York. 1997.
‘Spanish Theater Songs: Baroque and Classical @ 63 [o]
Example Words in Spanish
cata [kata]
pena [péna]
tfo [tio]
costa [késta]
busto [biisto]
bailo [bajo]
pauta [péuta]
pie [pjel
Puente [pwénte]
pan [pan]
tul {tul]
quepa [képa]
van [ban]
doce [d66e]
gas {gas}
lava {lB}
flor {flor]
ceno (8éno]
odre (6dre]
sin {sin}
ayer faiér]
ajo [4x0]
hago [ayo]
mas [mas]
[no] [no]
nfo [nino]
Juz ue}
calle [kage]
para [para]
parra [para]
par (par)?
hecho [éfo]
cényuge —_[kéndsuxe]
Example Words in English
kite [keait]*
pain (p'ein]
tea (tii)
coast {ktoust]
boost (bust]
bylaw {bails}
pout [paut]
yes Lies}
went [went]
apt [ept]
sty [stay]
action [ekfon]
ban [ben]
dozen [dazon]
gas [ges]
flour [flava]
thin {On}
other [sda]
sin [sin]
mass {mes}
no [nou]
lose {luz}
pot o'tea [p*orot*iz]
etch [ef]
jug [dag]
2 This symbol represents a voiced palatal slit fictive similar othe intial sound in the English word but produced with
more actual and audible fiction.
3 Unvoiced rolled /r. Used only in word-final position,
4 The small [h is used to mark the aspiration of /p,/ and /k, characteristic ofthe English language and totally absent in
Spanish.
64 w Spanish Theater Songs: Baroque and Classical
