Samuel Llano is a Lecturer (Assistant Professor) in Spanish Cultural Studies at the University of Manchester. He specialises in the music of nineteenth and twentieth century Spain, urban studies and transnationalism. His first book, Whose Spain?: Negotiating 'Spanish Music' in Paris, 1908-1929 (OUP, 2012) received the Robert M. Stevenson Award of the American Musicological Society for outstanding scholarship in Iberian and Latin American music.

• List of Figures iiiAcknowledgements vIntroduction 1Part I: Flamenquismo, Race and Social Disorder 16 Chapter 1: The Rise of flamenquismo in Madrid, 1888-1898 22 Chapter 2: Flamenquismo and Race 40 Chapter 3: Flamenco, Flamenquismo and Social Control 63 Chapter 4: Anti-Flamenquismo and Mass Entertainment: Eugenio Noel 90 Chapter 5: Madrid, Cante Jondo, and Nostalgia 106Part II: Organ grinders, "Aural Hygiene" and Space 135 Chapter 6: A Public Nuisance 144 Chapter 7: Early Debates 165 Chapter 8: The Persecution of Organilleros 180 Chapter 9: A New Order? 192 Chapter 10: The Demise and Enshrining of Organilleros 214Part III: Workhouse Bands, Confinement and Social Aid 227 Chapter 11: Confinement, Mendicancy, and the Making of the Street Musician 232 Chapter 12: Inside the Workhouse: A Soundtrack of Discipline 252 Chapter 13: Conquering the Public Space 270 Chapter 14: The Band and Social Disorder 286Conclusion 304Bibliography

Discordant Notes provides a rich, polyphonic, and engaging narrative of the role played by music in Madrid's everyday life and how sound was used to create and to control sources of anxiety to its 'respectable' audiences.

Samuel Llano is a Lecturer (Assistant Professor) in Spanish Cultural Studies at the University of Manchester. He specialises in the music of nineteenth and twentieth century Spain, urban studies and transnationalism. His first book, Whose Spain?: Negotiating 'Spanish Music' in Paris, 1908-1929 (OUP, 2012) received the Robert M. Stevenson Award of the American Musicological Society for outstanding scholarship in Iberian and Latin American music.

• List of Figures iiiAcknowledgements vIntroduction 1Part I: Flamenquismo, Race and Social Disorder 16 Chapter 1: The Rise of flamenquismo in Madrid, 1888-1898 22 Chapter 2: Flamenquismo and Race 40 Chapter 3: Flamenco, Flamenquismo and Social Control 63 Chapter 4: Anti-Flamenquismo and Mass Entertainment: Eugenio Noel 90 Chapter 5: Madrid, Cante Jondo, and Nostalgia 106Part II: Organ grinders, "Aural Hygiene" and Space 135 Chapter 6: A Public Nuisance 144 Chapter 7: Early Debates 165 Chapter 8: The Persecution of Organilleros 180 Chapter 9: A New Order? 192 Chapter 10: The Demise and Enshrining of Organilleros 214Part III: Workhouse Bands, Confinement and Social Aid 227 Chapter 11: Confinement, Mendicancy, and the Making of the Street Musician 232 Chapter 12: Inside the Workhouse: A Soundtrack of Discipline 252 Chapter 13: Conquering the Public Space 270 Chapter 14: The Band and Social Disorder 286Conclusion 304Bibliography

Discordant Notes provides a rich, polyphonic, and engaging narrative of the role played by music in Madrid's everyday life and how sound was used to create and to control sources of anxiety to its 'respectable' audiences.

Samuel Llano is a Lecturer (Assistant Professor) in Spanish Cultural Studies at the University of Manchester. He specialises in the music of nineteenth and twentieth century Spain, urban studies and transnationalism. His first book, Whose Spain?: Negotiating 'Spanish Music' in Paris, 1908-1929 (OUP, 2012) received the Robert M. Stevenson Award of the American Musicological Society for outstanding scholarship in Iberian and Latin American music.

• List of Figures iiiAcknowledgements vIntroduction 1Part I: Flamenquismo, Race and Social Disorder 16 Chapter 1: The Rise of flamenquismo in Madrid, 1888-1898 22 Chapter 2: Flamenquismo and Race 40 Chapter 3: Flamenco, Flamenquismo and Social Control 63 Chapter 4: Anti-Flamenquismo and Mass Entertainment: Eugenio Noel 90 Chapter 5: Madrid, Cante Jondo, and Nostalgia 106Part II: Organ grinders, "Aural Hygiene" and Space 135 Chapter 6: A Public Nuisance 144 Chapter 7: Early Debates 165 Chapter 8: The Persecution of Organilleros 180 Chapter 9: A New Order? 192 Chapter 10: The Demise and Enshrining of Organilleros 214Part III: Workhouse Bands, Confinement and Social Aid 227 Chapter 11: Confinement, Mendicancy, and the Making of the Street Musician 232 Chapter 12: Inside the Workhouse: A Soundtrack of Discipline 252 Chapter 13: Conquering the Public Space 270 Chapter 14: The Band and Social Disorder 286Conclusion 304Bibliography

Discordant Notes provides a rich, polyphonic, and engaging narrative of the role played by music in Madrid's everyday life and how sound was used to create and to control sources of anxiety to its 'respectable' audiences.