||Snow 1977, no. 108: "Although R.'s claims for Arabic genesis of both the form and the music of the CSM have largely been dismantled (see Anglés, 1943), the first section of this study - dealing with old written accounts of performances of and treatises on Arabic music - is still useful and readable. However, his conclusion, on the basis of his own work on the later Cancionero de Palacio, that the CSM was a vessel which carried Arabic music forward has but the shakiest of undocumented foundations. His theory cannot be put to the proof. Furthermore, no Arabic musical notation survives from this period; thus, Ribera seems to argue from the strength of his intuitions alone.rnR. reproduces, in black and white, the 40 miniatures of musicians from MS J.b.2. The Toledo MS is reproduced in facsimile and twelve plates from Escurial MS J.b.2. are provided for the sake of comparison. There are transcriptions of the melodies of all 128 cantigas from Toledo, and 24 are fully harmonized for piano (these were released as a tirada aparte in the same year). As comparison, there are four melodies of Marcabru. One note of caution: Ribera does not use the MS numbers and users must consult his own pp. 148-56 for the key to his numbering. See also Riaño (1887)."