222 Reviews Bullock: 'The advantage to this kind of constraint based approach over rule based approaches is that it obviates the need forderivations in phonology' (p. 55). Such opposing assertions prove that, happily, aftermore than a decade, something is starting to move in phonological theory. But, if they keep within the domain of untestable formal constructs, they are little more than rhetorical exercises of fittingdata into theories?instead of searching for a theory to fitthe data. The clearest conclusion from this book may be, perhaps, that phonological theory has much to gain from contact with Italian dialectology. It is true that most dialectologists have tried to work in isolation from modern (generativist) theories. This has been regrettable for dialectologists themselves, who may have missed important generalizations, but also for theoreticians, who have tended to produce increasingly abstract artefacts. But, as this volume proves, even if Italian generative dialectologists may be considered small in number, that is not coextensive with saying that Italian theory-oriented dialectologists are not many. Let us hope that this book might be a step on the road for Romance dialectology to regain the leading role in theoretical innovation that it had a century ago, at the time of Gillieron and Gauchat. University of Salamanca Carmen Pensado Two Spanish Songbooks: The 'Cancionero Capitular de la Colombina' (SV2) and the 'Cancionero de Egerton' (LB3). Ed. by Dorothy Sherman Severin; editorial assistant Fiona Maguire. (Hispanic Studies TRAC, 11) Liverpool and Seville: Liverpool University Press and Institucion Colombina. 2000. 438 pp.?47.95 (pbk?22.95). ISBN 0-85323-650-x (pbk 0-85323-109-5). This edition oftwo fifteenth-centurycancioneros provides wider access to manuscripts until now available only in the partial edition of Brian Dutton (El cancionero del siglo XV (c. 1360-1520), ed. by Brian Dutton, musical cancioneros ed. by Jineen Krogstad, 7 vols (Salamanca: Biblioteca Espanola del Siglo XV and Universidad de Salamanca, 1990, 1991), where incomplete editions of SV2 and LB3 appear in vols iv, 301-14, and 1,359-72, respectively. The Introduction (pp. 1-34) consists of a description and brief analysis of the contents of both manuscripts, followed by an index which supplies the Dutton ID number foreach composition, details of its metrical structure (if appropriate), author, title (where relevant), and first line or first stanza. Next comes an account of the genealogical relationship of the two cancioneros derived from earlier criticism. In the Norms of Transcription the editor expresses the aim of providing 'a diplomatic, readable version ofthe two texts and not a critical edition with extensive critical apparatus' (p. 31). This section concludes with a bibliography. The nucleus of the edition consists of the texts of SV2 (pp. 35-276) and LB3 (pp. 277-430). Both texts are provided with abundant palaeographic notes at the end of each section. An Author Index (pp. 431-34) and an index of first lines or first stanzas completes the volume. In the form in which they are presented, the texts represent an adequate fulfilment ofthe objectives articulated by the editor: 'to make a corpus of hitherto unedited texts of cancioneros available to students and scholars' (p. 31). The question arises, however, as to whether an edition directed not only at scholars but also at students might not also profitably include a minimum number of footnotes devoted to the lexical, histor? ical, and literary background, since it is improbable that all students will be familiar with terms such as adarve, blanchetes, or xorginos, or able to place either Macias or Juan de Merlo in a precise context. The editorial method seems more directed at the experienced medievalist than the beginner. MLR, 98.1, 2003 223 Greater attention to these considerations would have allowed the editor to avoid some inexactitudes, e.g. in the faulty placing ofthe reference [ID0091 P0050]. Dut? ton' s reference is to Santillana's prose prologue to his Proverbios, and not to Pero Diaz de Toledo's preface to his commentary on Santillana's poem. Severin appears to confuse the two, however, misplacing the Dutton reference, which should appear on page 47 of the edition before the paragraph which heads Santillana's work '[S][ere]nisymo &bienaventuradoprincipe[...]', rather than on page...