||Snow 2007rn"R. strongly affirms that only a scientifically-sound, i.e. archeologically-based, conjoint study of medieval music and texts — when both are extant — will produce authentic performance models for Galician-Portuguese religious and profane poetry. He has some reservations about both Anglés' 1958 and Ferreira's 1993 proposals. Like Van der Werf (1987), he argues for an approach that allows for blends of rhythmic and metric patterns within compositions, and he illustrates with CSM 42, 23, and 54. R. leaves open the door of Arabic influence, especially in the matter of musical ornamentation. There is a useful caution against a too-literal interpretation of the iconographic representation of musical instruments (no medieval partituras survive with precise notation about musical accompaniment). In dealing with musical imitation and contrafacta, R. notes for cantiga 139 metrical antecedents from Cadenet's alba and musical ones from Roger de Cambrai. He provides a transcription to show musical interdependence of Bernart de Ventadorn's 'Can vei la lauzeta mover' and the tenson between Alfonso X and Arnaut Catalan (Lapa 427)."