Emiliana de Zubeldia's musical legacy includes works for piano, guitar, harp, chamber ensembles; songs for two voices a cappella, voice and piano, voice, piano and woods; works and arrangements for choir for 4 and up to 8 equal and mixed voices; a choral mass, concerts, symphonies, and symphonic poems. Some of her works reflect her passage through practice of the impressionist and avant-garde music of Paris in the 1920s. Her respect for the traditional harmony in some works contrasts with a great freedom in the application of Novaro's system in many others.

This recording contains the second and last part of all her compositions for voice and piano known up to now and that had mostly been stored away in the archives of the University of Sonora without being recorded or edited. Four blocks that give faith of Emilianas vast interest in diverse literary gender are presented, the first one approaches eight fables for children, six by Tomas de Iriarte and two by Felix Maria de Samaniego. In these works the author captures the lyricism of the fable.