The Library of Congress > Linked Data Service > LC Subject Headings (LCSH)


  • URI(s)

  • Instance Of

  • Scheme Membership(s)

  • Collection Membership(s)

  • Variants

    • Género chico
    • Sainetes líricos
    • Sainetillos
    • Saynètes
    • Zarzuelas chicas
  • Broader Terms

  • Related Terms

  • Closely Matching Concepts from Other Schemes

  • Sources

    • found: LCCN 2005422335: Moral Ruiz, C. El género chico : ocio y teatro en Madrid (1880-1910), c2004.
    • found: New Grove dict. of opera WWW site, Jan. 20, 2006(Sainete: Short Spanish theatrical piece, at first equivalent of the entremés (intermezzo), a little play between acts; came to be called sainete when intended for the end of a performance after the main play rather than in the middle of it. 17th century: usually a little spoken piece which could also include musical numbers. 18th century: musical numbers came to be deemed essential. Late 19th century sainete and sainetillo also used to describe short, comic theatrical pieces without music, with a highly farcical plot bearing little relation to reality; when after 1870 the género chico type of zarzuela developed, many composers called their pieces sainete or its diminutive sainetillo. Tomás Bretón's género chico piece La verbena de la paloma (1894) and Ruperto Chapí's La revoltosa (1897), for instance, were described by their publishers as sainetes, but during the period dozens of words were used to describe theatrical pieces with no specific significance. In the late 19th century the words sainete and sainetillo were also used to describe short, comic theatrical pieces without music, with a highly farcical plot bearing little relation to reality. In France, composers such as Hervé and Planquette, among others, wrote lightweight saynètes)
    • found: Grove music online WWW site, Jan. 20, 2006(under Zarzuela: A type of shorter zarzuela, usually in one act--the so-called género chico--developed after the revolution of 1868. Its main characteristics were extended dialogue and a relatively small amount of music; the plots were mostly set in the working-class districts of Madrid, and composers drew on such popular music as the schottische and the mazurka, which the madrileños had come to regard as part of their folklore. The turn of the century almost coincided with a renewal in the ranks of zarzuela composers. The elder ones were almost all gone by 1910 and the género chico started a speedy decline, despite some late landmarks such as Chapí's El puña de rosas (1902))
    • found: Harvard dict. mus., 4th ed.(under Zarzuela: the continual demand for new works made the one-act zarzuelas referred to as género chico (small genre) more practical)
    • found: Oxf. comp. mus., 2002(under Zarzuela: género grande ("large style" zarzuelas in three acts) gave way [in the latter half of the 19th century] to género chico ("small style," one-act farces, often with social or political satire and containing less music))
    • found: Baker's dict. mus.(under Zarzuela: the modern type of zarzuela, known as genero chico, embodied elements of the Viennese operetta, and still later annexed American jazz rhythms)
    • found: Diccionario de la música española e hispanoamericana(under Zarzuela: "Género chico" usually refers to one-act plays with music, premiered from 1868 to 1910 or 1915, performed by the hour at certain Madrid theaters; the sainete lírico is the most representative; the designation "sainete" for a short comic zarzuela appears in 1867 in Ramos Carrión y Arrieta's play El fiel enamorado, which is not a true sainete; historians agree that the first sainete is La canción de Lola, by Ricardo de la Vega, with music by Chueca and Valverde)
    • found: Wikipedia WWW site, Jan. 20, 2006(Género chico: Spanish genre of short light dramas; subgenre of zarzuela, the Spanish operetta; differs from zarzuela grande and most other opera forms both by being short and by aiming at a proletarian audience. The main model for género chico is the sainete lírico or one-act lyrical farce, thanks to the successful La canción de la Lola by Chueca and Valverde (1880). The sainete, established in its definitive form by Ramón de la Cruz, is the direct heir of the comic interludes or brief farces that were previously so popular. These are essentially short, independent pieces, with music and often dance)
    • found: LC database, Jan. 20, 2006(género chico; zarzuela chica)
  • Change Notes

    • 2006-01-20: new
    • 2006-03-13: revised
  • Alternate Formats

Suggest terminology

The LC Linked Data Service welcomes any suggestions you might have about terminology used for a given heading or concept.

Would you like to suggest a change to this heading?

Please provide your name, email, and your suggestion so that we can begin assessing any terminology changes.

Fields denoted with an asterisk (*) are required.