Hispanic Folk Music of New Mexico and the Southwest: A Self-Portrait of a People

Explanation of Format

EXPLANATION OF FORMAT Each example used in this work is designated by an alphanumeric symbol representing the section in which the example appears and the number of the example within that section. For instance, the section dealing with the romance is designated Section A. The first example in that section is Al. If there are one or more variants of the same example or closely related examples, they are designated Ala, Alb, and so on. There are instances where two or more songs having the same title or first line are entirely different songs; such songs are given different numbers. A formal heading introduces each example and provides up to seven pieces of information about the song or melody, in this order: title, bibliographical source, name of the informant, age of the informant, place of the recording, year of recording or other date representing a minimum age of the song, and name of the collector. When one (or more) of these facts is unknown, as is frequently the case, that slot is simply omitted (rather than filled with "informant unknown/' or "year unknown"). Further notes sometimes follow this heading, referring the reader to other similar or contrasting songs and melodies. Thus the first example is described in the following heading: AL Cancion del Fraile (Song of the Friar) R13, Francisco Chavez, age 43, and Juan Morales, age 40?, La Jam, N.Mex., 1944,Robb. Cf. Mates 8a, Parte Musical, p. 80. Translated^ the heading reads: This is example number Al; its title is Cancion del Fraile, or, in English^ Song of the Friary it is number 13 in the J. D. Robb Collection of Folk Music Recordings; it appears here as sung by Frank Chavez, forty-three years of age, and Juan Morales, about forty years of age. It was recorded at LaJara, New Mexico, in 1944 byJ. D. Robb. Compare it with an example in Matos' Cancionero Popular de la Provincia de Madrid, Volume 1 (see Bibliography under Matos 8a), Musical Portion at page 80. The bibliographical source isusuallyindicated in the heading by an abbreviation. I have referred to items of my own collection by using a capital R followed by the serial number of the item in my collection, as R137; or, in the case of series B of that collection, RBI37. (To avoid confusion , there is no Section R in this volume.) Other sources are usually listed in the Bibliography or Discography and are ordinarily referred to in the heading by the abbreviated code name shown in parentheses at the end of each entry (Baca 1, Boyd Ic, Campa 2, and so on). References in Section A to Matos 8a are confusing because the words and melody of the same song may be separately listed in Matos' book under Parte Musical and under Parte Literaria, with different item and page numbers. The two parts are at least to some extent cross-referenced by Matos, however. The Mendoza manuscript (Mendoza 9d) consists similarly of a literary part—fifteen manila folders, with consecutively numbered pages, containing song texts and comments— and a musical part—five notebooks of melody transcriptions. In referring to the literary part, I have simply given the page number (for example , Mendoza 9d, p. 25). When citing the musical transcriptions, I have given the number of the notebook and the page (for example, Mendoza 9d, notebook 4, p. 2). Cross referencing is indicated by the abbreviation of Cf. following immediately after the heading of the particular song text or melody, as shown above. References to the author's volume of Field Trip Reports, consisting of notes made at the time of the recording and containing comments given by the informants, are abbreviated with the initials FTR and the date of the report (for example, FTR 6/7/49). In the song texts, when a line terminates with a bracket and the word Bis (twice), it means that the line is repeated by the singer. When a coro (chorus) or refrdn (refrain) is peated, the repetition is indicated by the word Coro or Refrdn in the Spanish song text, and by the word Chorus or Refrain in the English version. In most instances where no musical example appears with the song, the reason is that it was not recorded; that is, only the text was collected. Certain of the examples, however, are intended to be spoken, and have no music. These have been noted in the comments accompanying the songs. xxv This page intentionally left blank [18...