Archive Tape Name: 58re38a NA NA National Science Foundation, Digital Library Initiative Phase 2 Maurice Amado Foundation University of California at Davis Samuel G. Armistead Bruce Rosenstock NA Samuel G. Armistead Samuel G. Armistead University of California
Spanish and Classics Dept. University of California at Davis Davis, CA 95616

Textual transcription of this tape and corresponding audio file are available for purposes of research, teaching, and appreciation. In some cases, either the transcriptions, the audio file, or both may be used only with the permission of Samuel G. Armistead send requests to address given above.

Any republication or other use of these materials must acknowledge their source and their copyright by Samuel G. Armistead.

This transcription is taken from Archive tape named Reel 58-38, recorded on 1958-08-25, whose digital audio file is named 58re38a. The tape was recorded in Rhodes. Samuel G. Armistead interviewed and taped session 1958-08-25 INFNAME informant Rosa (Bulisa, Buliza) Franco Informant identified as inf1 in 58re38a-1. Rosa (Bulisa, Buliza) Franco Informant identified as inf1 in 58re38a-2. Rosa (Bulisa, Buliza) Franco Informant identified as inf1 in 58re38a-3. Rosa (Bulisa, Buliza) Franco Informant identified as inf1 in 58re38a-4. Rosa (Bulisa, Buliza) Franco Informant identified as inf1 in 58re38a-5. Rosa (Bulisa, Buliza) Franco Informant identified as inf1 in 58re38a-6. Rosa (Bulisa, Buliza) Franco Informant identified as inf1 in 58re38a-7.

The "Folk Literature of the Sephardic Jews Multimedia Digital LIbrary" is funded by a three-year grant from the National Science Foundation, Digital Library Initiative Phase 2 and the Maurice Amado Foundation. The goal is to create a web-accessible archive of the Sephardic oral literature collected by Samuel G. Armistead, Joseph H. Silverman and Israel J. Katz in fieldwork conducted since 1957.

Commentary on transcriptions has been provided by Samuel G. Armistead, who is solely responsible for identifying the ballad-titles and other genres of this folk literature.

The orthographic conventions used in transcribing these files are based upon those of Samuel G. Armistead. We have attempted to represent all variations from the pronunciation of modern Castilian Spanish and our orthography therefore captures phonetic phenomena which use of modern Spanish orthography would otherwise obscure. The full description of our conventions is available on the home page of the website.

1958-08-25 Rhodes
58re38a-2 Karen L. Olson Supervised the editing of all transcriptions. Editor/Transcriber Nancy Tamayo Editor/Transcriber Corinne Pubill Editor/Transcriber Dolores Miralles Alberola Editor/Transcriber Editor/Transcriber University of California, Shields Library Samuel G. Armistead
Spanish and Classics Dept. University of California at Davis Davis, CA 95616
Moro de Antequera comentario inf1 ... sumí estos porque me arrecu[r]dé [ word ] es qui queréis unas diferentes, por esta razzón fue que la escribí y m[e] la pasé ayí. Para mós de esho y hablan bien el español y él habla muy bien el españo[l] [ phrase ]. inf2 Habla muy bien el español inf1 [ phrase ]. Es porque esta cantiga que dishe "de la djuma sale el moro". De la "djuma" means como de la church . Joseph H. Silverman Esto es, claro, de la iglesia. canción. inf1 De la djuma sali il moru, y di la djuma a mediodía. de la djuma a mediodía. Y con trisientos cabalieros se yivaba por compañía. se yevaba por compañía. No era por compañía, ni por favor qui él quería, ni por favor que él quería, sino que diga la djenti: "¡Qué grandi cabaliería!" "¡Y qué grande cabaliería!" Y la toca [ se corrige ] comentario ininteligible canción La toca que el moru yeva, labrada a las maravilias, labrada a las maravilias. ¿Quén si la labró esta toca? Shirifé, la su amiga. Shirifé, la su amiga. Shirifé [e]stá en altas torris, y las mázz altas de Torquía. las mázz altas de Torquía. corte de cinta