||Notes from Snow 1977, no. 79: "A tripartite analysis - thematic, melodic, and rhythmic - of twelve of the CSM: 10, 40, 139, 270, 340, 38, 100, ll9, 124, 176, 186, and 189. The authors call for more flexibility of musical interpretation than their predecessor Aubry (1906). They admit that, musically speaking, Alfonso is not the composer of all of the CSM, and offer solid reasons for their opinion (for more on this, see Anglés, 1943, 1958). This study shows that the original contribution of the music of the CSM is the use of the musical refrain in a thematic manner. There is much evidence for the inclusion of local, popular melodies, and even the notation seems to be particularly Peninsular. In their small sample, the authors realize that words and music do not always blend harmoniously and that, in certain cases at least, it is possible to tell which preceded and gave shape to the other. These are very serious considerations confirmed in more detail by later studies in music and in versification of the CSM."