(b . Valladolid, mid. 16th cent.), a Spanish lutenist who published in 1576 a book in tablature entitled : Libro de Musicae?i cifras p a ra Vihuela, in t itu la d o el Parnas"o, en el qual se h a lla ra toda diuersidad de Musica, assl Motetes, Sonetos, Villanescas, en lengua Castellana, y otran cosas, conio Fantasias del Autor, hecho por Ksteuan Da^a, vczino de la muy insigne villa d e Valladolid. . . . Iinpresso por Diego Fernandez de Cordoua, impressor de su Magestad. Auo de m .d . l .x x v i . . . en Valladolid. (Bibl. Mac., Madrid.) The book is of great interest, since it contains transcriptions for the lute of a number of Spanish madrigals and villancicos, the original voice-parts being found, in many cases, in other printed works and MSS. The following composers are represented : RODRIGO CEVAI.LOS 5 madrigals (4 v.), original pa r ts in Medinnceli MSS. 13,230, and an a lto partbook in th e library of S ir Percy Wyndham, Petersfleld. Tin* words of one, ' Quan bienaventurado,' are taken from Garoilaso de la Vega (Eclogue IV.), one of th e g re atest of Spanish poets. ? FRANCISCO OUERRERO 2 madrigals (4 v.), originals in Medinacell MS., and Guerrero's 'Canciones y villanescas e spir itua le s ' (Venice, 1589). The b e autiful ' Prado verde y florido' is a tt r ib u te d to Navarro in th e Medinaceli MS. JUAN NAVARRO 2 madrigals (4 v.), originals in Medinaceli MS. PEDRO ORDONEZ 2 madrigals (4 v.), original p a r ts unknown. JUAN VASyUEZ 3 villancicos (2 for 4 v. and 1 for 5 v.), original pa r ts in ' Recopilacion de sonetos y villancicos a q u a tro y & cinco de lu a n Vasquez ' (Sevilla, 1560), in Medinaceli Library. VII .LALAR Madrigal, ' Esclarecida J u a n a ' (4v.l, p rinted in Guerrero's ' Villanescas,' in a parody a to d iv in o : * Esclarecida Mad re .' The collection also includes transcriptions of a number of anonymous villancicos for 3 and 4 voices, besides motets, and an unidentified setting of Garcilaso's well - known sonnet, ' Escrito esta en mi alma vuestro gesto,' as a madrigal for 4 voices. There are also several fantasias on the Gregorian tones. Daza shows less feeling for the possibilities of the lute, or of the solo song, than his forerunners Luis Milan and Alonso de Mudarra. His ' Pamasso ' is frankly a book of transcriptions of favourite music of his day. Examples are given by Morphy, * Les Luthistes espagnols. ' J . B. T.