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Abstract: This article offers a microhistorical approach to the shaping of regional cultures during the nineteenth and twentieth centuries to show that this process was not only imposed from centres of nationalisation as a complement of national identity, but that it also had to be negotiated with elites in provinces at the periphery. Specifically, the article looks at how the regional songbook of Majorca took shape between 1837 and 1936. In this process of musical regionalisation, the cultural authority of the tourism and colonial discourse about the island was strategically exploited by local musicians to gain some share of power from below in negotiating their own regional identity with nationalising institutions. In this way, the Spanish and Catalan national identities being projected over the island were ultimately decentred and transformed. [ABSTRACT FROM AUTHOR]

Lucas Fernandez's Farsas y églogas (Salamanca: Liondedei, 1514) constitute one of the earliest occasions that an extensive dramatic opus was published in print during the lifetime of its author. The organization of the thirty folios of this innovative postincunable reveals a careful design which inherits the fifteenth-century cancionero tradition, in both manuscript and early printing. I also consider aspects of the Salamanca postincunable printing, paying particular attention to its dependence on the Cancionero de Juan del Encina (1496), taking into account the codicological traditions present: quires, rubrics, methods of indication of speaker-characters and woodcuts. [ABSTRACT FROM AUTHOR]

Undoubtedly, Federico García Lorca is one of the most prominent names in the history of literature. But he must also be recognized for his musical side, as he was a very good piano player. He met the most important Spanish composers in his days and really loved the flamenco and traditional music. He found songbooks from very different periods and even used numerous songs in his plays and productions with La Barraca. The main topic in this article is going to be his role as an investigator, because he conducted numerous studies in his travels in Granada, his province, Spain and America. And it is focused on his recording from 1931, Spanish folksongs, made in conjunction with the dancer and singer La Argentinita. [ABSTRACT FROM AUTHOR]

This article is concerned with the portrait of the father of the most influential picaresque character to emerge from the satirical novel-writing tradition of early modern Spain, Guzmán de Alfarache. In the first chapter of this classic narrative, the title character's forbearer is portrayed in ways that harken back to the parodic representation of particular, high-profile conversos or converts to Christianity in the bestselling Cancioneros or songbooks that were published during the late Middle Ages and Renaissance. At the same time, the depiction of Guzmán's hypocritical, bisexual, renegade father provides a telling example of how emerging categories and ideas of race were developed to explain and illustrate by what means traits and propensities could be passed on through the blood, in keeping with the idea of lineage in horse breeding. These notions and attendant images were at the same time being fictionalized and novelized in the Inquisitorial, polemical cultural environment that coincided with and directly impacted the life of the author of the novel, Mateo Alemán, as well as his ancestors. [ABSTRACT FROM AUTHOR]