||2 vols. Rennes: Pliton, 1949-53, II, p. 442, no. 10.rnAdditional publ. details from Snow 1977: date given as (1949, 1952), vol. I, pp. 297-311; vol. II, pp. 319-62, 410-54 passim.
||Notes from Snow 1977, no. 221: "Vol. I treats the CSM as a genre called the pious lyric in which Alfonso is credited with being creative and original in the use of models; for example, his use of the virelai often exceeds the allowable length for the French original and the tornada is nearly always discarded. More erudite forms, without refrain, can be seen in other sub genres: the Joys of cantiga l and the Sorrows of cantiga 403.rnVol. II demonstrates that most all of the standard poetic forms of the fifteenth century are present in the CSM. Alfonso's marial is especially important for transmission of the virelai form, both as a structure and as a musical piece in which a melodic line for use in the refrain is borrowed from the strophe. Le G. is always respectful of Anglés's study of the music (1943) and A.'s transcriptions allow him to review Clarke's suggestions (1944) about the seguidilla and further suggest that only CSM 91, 93, 94 and 98 - refrain only for the four - and 134 in its entirety are probable forerunners of that form (II, p. 442, n. 10)."