[EN] The musician, folklorist and musicologist Kurt Schindler, was the first foreign researcher who realized in Spain field works, recording on aluminium discs about a thousand of tunes for songs and dances. In a posthumous publication on 1941, his handwriting taken during his field works were not included in this edition. Likewise, in the reissue of this song-book in 1991 they have not returned to include either, we think that for being of difficult access. It is the first time that we sense beforehand these notes as we find them in the Hispanic Institute of Columbia's University on June 2003, with annotations on the informants, the song-books where Schindler has certainty checked these variants, and on the different versions used by him comparing them from a Spanish region to another. Thanks to these notes of his notebooks for field work we can see that for Schindler the popular song was really a source of inspiration for his compositions, since one could check from the programs of the concerts by the Schola Cantorum of New York, and the ones in the House of the Espa?as of Columbia University. His great knowledge of the Spanish folklore and of the woman as principal informant of the oral tradition, makes relevant his personal annotations on these field works, and constitute them as an important material about primary sources on the Spanish Ethnomusicology before the Spanish Civil War.

[ES] El m?sico, folklorista y music?logo Kurt Schindler, fue el primer investigador extranjero que realiz? en Espa?a trabajos de campo, grabando en discos de aluminio un millar de tonadas de canciones y bailes. En una publicaci?n p?stuma que se realiz? en 1941 no se incluyeron las notas manuscritas en sus cuadernos de campo. As? mismo, en la reedici?n de este cancionero en 1991 tampoco se han vuelto a incluir, pensamos que por ser de dif?cil acceso. Es la primera vez que presentamos estas notas tal como las encontramos en el Hispanic Institute de la Universidad de Columbia en junio del 2003, con anotaciones sobre los informantes, los cancioneros donde Schindler tiene certeza que ha visto esas variantes, y sobre las diferentes versiones que ?l va comparando de una regi?n espa?ola a otra. Gracias a estas notas de sus cuadernos de campo comprobamos que para Schindler la canci?n popular era realmente fuente de inspiraci?n para sus composiciones, como se pod?a comprobar en los conciertos de la Schola Cantorum de Nueva York, y de Casa de las Espa?as de la Universidad de Columbia. Su gran conocimiento del folklore espa?ol y de la mujer como principal informante de la tradici?n oral, hace que sus anotaciones personales sobre estos trabajos de campo constituyan un material importante sobre las primeras fuentes de la etnomusicolog?a espa?ola antes de la guerra civil.