Viva, viva la Tirana: Clarifying an Elusive Spanish Dance Song AUR ` ELIA PESSARRODONA The late eighteenth century witnessed an increased permeability between elite and popular culture as upper-class entertainments took inspiration from vernacular cultural manifestations. We find excellent examples in Spanish music and dance, with the rise of many popular genres such as fandangos and seguidillas that crossed social boundaries and became widely popular in theaters and even salons as one- off songs. In fact, some of these genres, which were highly stylized, constitute the basis of classical Spanish dance—much later termed the “Bolero School”—that also became the typical and topical musical image of Spain abroad, as we can see in the famous fandangos inserted in scenic works by Gluck and Mozart, or the seguidillas in Giovanni Paisiello’s and Vicente Mart´ ın y Soler’s operas, to mention only a few eighteenth-century theatrical examples. The eighteenth-century fandango has already received notable attention from scholars, 1 and now seguidillas are gaining increased This article came to fruition as part of the project “Musicolog´ ıa e interpretaci ´ on musical en Espan ˜a: di´ alogos para una integraci ´ on disciplinar” (Universidad Alfonso X el Sabio – Banco Santander), with additional funding from the Alfonso X el Sabio Foundation. I would like to thank Germ´ an Labrador and David Irving for their invaluable tips on the manuscript, Jos´ e Antonio Morales for pro- viding me the manuscript of his unpublished article on the topic, Maria Jos´ e Ruiz Mayordomo for illuminating me on the dancing contexts, the Biblioteca Hist ´ orica Municipal de Madrid’s staff for helping provide all the material despite the difficult situation generated by COVID-19, and Stephanie Graham for her accurate revision and correction of English. 1 See, for instance, Judith Etzion, “The Spanish Fandango: From Eighteenth-Century ‘Lasciviousness’ to Nineteenth-Century Exoticism,” Anuario Musical 48 (1993): 229–50; 469 The Journal of Musicology, Vol. 39, Issue 4, pp. 469–539, ISSN 0277-9269, electronic ISSN 1533-8347.  2022 by The Regents of the University of California. All rights reserved. Please direct all requests for permission to photocopy or reproduce article content through the University of California Press’s Reprints and Permis- sions web page, www.ucpress.edu/journals/reprints-permissions. DOI: https://doi.org/10.1525/ JM.2022.39.4.469