Samuel Llano is a cultural historian specialised in Spanish music and theatre of the nineteenth and twentieth centuries. He has published on the presence of Spanish music and culture in Paris in the early twentieth century. His current research deals with representations of "wrongdoing" on the Spanish stage and how they intersect with notions of gender, race, and class.

• Table of Contents ; Foreword ; Introduction ; Part I: "Spanish music" as propaganda ; Chapter 1: "Spanish music" as allied propaganda ; Chapter 2: "Spanish music" as Catholic propaganda ; Part II: Negotiating French and Spanish music ; Chapter 3: Citizens or Savages?: The Spaniards in Raoul Laparra's La jota (1911) ; Chapter 4: Manuel de Falla's La vie breve (1914) and notions of "Spanish music" ; Part III: Building the Postwar order ; Chapter 5: Domesticating Difference?: Carmen and the "French" canon in the 1920s ; Chapter 6: Showcasing Spain at the Opera Comique: The homage to Falla (1928) ; Conclusions ; Bibliography

In Whose Spain?, Llano invites his readers to question their assumptions about the meaning and identity of Spanish music during this crucial period. In response, he offers an original and substantial work of genuine scholarship, that will provoke and inspire future studies of the forces of exoticism and nationalism that contributed to the creation of a new Spanish music for the twentieth century.

Samuel Llano is a cultural historian specialised in Spanish music and theatre of the nineteenth and twentieth centuries. He has published on the presence of Spanish music and culture in Paris in the early twentieth century. His current research deals with representations of "wrongdoing" on the Spanish stage and how they intersect with notions of gender, race, and class.

• Table of Contents ; Foreword ; Introduction ; Part I: "Spanish music" as propaganda ; Chapter 1: "Spanish music" as allied propaganda ; Chapter 2: "Spanish music" as Catholic propaganda ; Part II: Negotiating French and Spanish music ; Chapter 3: Citizens or Savages?: The Spaniards in Raoul Laparra's La jota (1911) ; Chapter 4: Manuel de Falla's La vie breve (1914) and notions of "Spanish music" ; Part III: Building the Postwar order ; Chapter 5: Domesticating Difference?: Carmen and the "French" canon in the 1920s ; Chapter 6: Showcasing Spain at the Opera Comique: The homage to Falla (1928) ; Conclusions ; Bibliography

In Whose Spain?, Llano invites his readers to question their assumptions about the meaning and identity of Spanish music during this crucial period. In response, he offers an original and substantial work of genuine scholarship, that will provoke and inspire future studies of the forces of exoticism and nationalism that contributed to the creation of a new Spanish music for the twentieth century.

Samuel Llano is a cultural historian specialised in Spanish music and theatre of the nineteenth and twentieth centuries. He has published on the presence of Spanish music and culture in Paris in the early twentieth century. His current research deals with representations of "wrongdoing" on the Spanish stage and how they intersect with notions of gender, race, and class.

• Table of Contents ; Foreword ; Introduction ; Part I: "Spanish music" as propaganda ; Chapter 1: "Spanish music" as allied propaganda ; Chapter 2: "Spanish music" as Catholic propaganda ; Part II: Negotiating French and Spanish music ; Chapter 3: Citizens or Savages?: The Spaniards in Raoul Laparra's La jota (1911) ; Chapter 4: Manuel de Falla's La vie breve (1914) and notions of "Spanish music" ; Part III: Building the Postwar order ; Chapter 5: Domesticating Difference?: Carmen and the "French" canon in the 1920s ; Chapter 6: Showcasing Spain at the Opera Comique: The homage to Falla (1928) ; Conclusions ; Bibliography

In Whose Spain?, Llano invites his readers to question their assumptions about the meaning and identity of Spanish music during this crucial period. In response, he offers an original and substantial work of genuine scholarship, that will provoke and inspire future studies of the forces of exoticism and nationalism that contributed to the creation of a new Spanish music for the twentieth century.