| Commentary: |
Notes from Snow 1977, no. 193: "C. notes how difficult it is, even from the definitions of the earliest commentators, to know exactly how the seguidilla as we now know it came to take recognizable shape. She suggests that a proto-form may have derived from popular song and may have included assonant and consonant rhyme both. She ventures the suggestion that the refrains of CSM 91, 93-5, 98, 110, 117-18, 137, 141-2, 211, 259, 298, and 370 show the seguidilla form, as does the entire composition of cantiga 134." |
