Spanish estudiantina plucked string ensembles achieved immense popularity in the last two decades of the nineteenth century and were an important catalyst in the creation of the sonority of a variety of European and American popular musics. Such ensembles had precedents in Spanish student groups dating back to the Renaissance and the rondallas (or groupings of plucked instruments) that were associated with popular outdoor serenades. However, the modern estudiantina movement can be traced back to 1878, and was consciously framed as a modern historical construct. A large grouping of youths and former students, donning Renaissance student dress, decided to form a society to visit Paris during Carnival, on the eve of the 1878 Exposition Universelle. They took Paris by storm, performing in a variety of street settings, reinforcing the exotic stereotypes of serenading musicians associated with Spain, and bringing to life historical notions of the minstrel. In the decade that followed, the European performance contexts of the estudiantinas included theatres, outdoor venues and expositions, garden parties and salons – and they became fixtures of the music hall and the café chantant. This paper explores early English and French constructions of the estudiantina phenomenon, and how the groups were framed in the light of exotic street musics and prevailing tropes of Spain. It also examines how the outdoor performance settings of the estudiantinas were translated onto the theatrical stage.

中文翻译：

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巴黎街头的西班牙学生小夜曲：1870 年代学生的国际投影

西班牙语学生弹拨弦乐合奏在 19 世纪的最后二十年获得了极大的欢迎，并且是创造各种欧洲和美国流行音乐的响亮的重要催化剂。这样的乐团在西班牙学生团体中已有先例，可追溯到文艺复兴时期和朗达拉斯（或一组弹拨乐器）与流行的户外小夜曲有关。然而，现代学生运动可以追溯到 1878 年，并被有意识地构建为现代历史建构。一大群年轻人和以前的学生，穿着文艺复兴时期的学生装，决定在 1878 年世界博览会前夕的狂欢节期间组建一个社团来参观巴黎。他们席卷了巴黎，在各种街头环境中表演，强化了与西班牙相关的小夜曲音乐家的异国刻板印象，并将吟游诗人的历史观念带入生活。在随后的十年中，欧洲的绩效环境学生包括剧院、户外场所和博览会、花园派对和沙龙——它们成为音乐厅和音乐厅的固定装置咖啡馆圣歌. 本文探讨了早期的英语和法语结构学生现象，以及如何根据异国情调的街头音乐和西班牙流行的比喻来构建这些团体。它还检查了室外性能设置如何学生被翻译成戏剧舞台。