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The Sephardic Romancero (i.e., corpus of Judeo-Spanish ballads) presents a unique case study of stability and change in oral tradition. On the one hand, it is a living testimony to the Jews' preservation of the Spanish romance tradition after their expulsion from Spain in 1492; on the other, by absorbing since then so many new stylistic features, it has evolved into a genuine repertoire quite distinct from that of the late Medieval Spanish Romancero, its ancestral counterpart. Consequently, melodic variants of individual Sephardic romances often show a diversity that calls for a fresh approach towards what is implied by the notion of variant, and a more flexible methodology for the comparative study of variants.2
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