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Tono humano

December 18, 2023

The tono humano (secular song) was one of the main genres of 17th Century Spanish and Portuguese music.[1]

The term tonadas is also used for tonos humanos in 17th Century musical literature but the 17th Century tonada is to be distinguished from the modern folk tonada song in Chile or for guitar band in Argentina.

In the early 17th Century the main vernacular forms for Spanish and Portuguese composers were the villancico, usually a Christmas song, and the solo tono; tono humano if secular, tono divino if sacred. The cantata form had not yet been introduced from Italy. At this point tonos were generally strophic songs (coplas) with a refrain (estribillo).[2][3] However by the end of the 17th century some tonos had begun to include recitative and aria sections, as the cantada, Spanish form of the cantata became known around 1700. The tono humano and tono divino could also have 2, 3 or 4 voices.[4]

Nearly all tonos humanos and semi-sacred villancicos were preserved only in manuscript. The best copies were in the Royal Palace in Madrid and in the nearby Buen Retiro, both of which were lost in fires. This, and the fall from fashion of the tono and villancico in the Iberian Peninsula, means that sources in Latin America are relatively important to recovery of this part of Iberian musical heritage.[5][6][7]

The Libro de tonos humanos Madrid 1656 (Biblioteca Nacional, M-1262) is the most substantial Iberian cancionero of the 17th Century with over 200 songs, almost all romances with estribillo in 4 voices.[8] Additional surviving sources include the Mackworth manuscript.[9]

The tono was used both in theatre music, domestic music and church music. Composers active in the composition of tonos humanos include:

In the New World the tono was taken up by:

  • Juan Serqueira of Lima (c.1655–1726)

Academic study edit

In recent years the tono humano has been the focus of intersemiotic study by musicologists.[13][14][15][16][17][18][19][20]

References edit

  1. ^ Lorenzo Bianconi Music in the seventeenth century 1987 p262
  2. ^ Jerónimo Nieto Magdaleno, Rita Goldberg Tonos a lo divino y a lo humano 1981 p28
  3. ^ George J. Buelow A history of baroque music 2004 p375
  4. ^ Kurt L. Levy, Jesús Antonio Ara, Gethin Hughes Calderón and the Baroque tradition 1985 p73 Emperor Leopold I in Vienna requests his ambassador in Madrid "will you therefore see that you send me some tonos humanos for one, two or at most three voices"
  5. ^ John H. Baron, Daniel L. Heiple Spanish art song in the seventeenth century 1985 Page vii
  6. ^ The New Grove dictionary of music and musicians, Volume 19 Stanley Sadie, John Tyrrell 2001 p235
  7. ^ Judith Zessis Evans The Spanish polyphonic ballad from c. 1450 to c. 1650 1975 p225
  8. ^ Owen Rees review of Alejandro Vera Musica vocal profana en el Madrid de Felipe IV: El Libro de Tonos humanos Music and Letters - Volume 86, Number 3, August 2005, pp. 468-471
  9. ^ Carreras, Juan José. 2004. El manuscrito Mackworth de cantatas españolas Madrid: Fundación Caja Madrid.
  10. ^ Robledo, Luis. 1989. Juan Blas de Castro (ca. 1561-1631): vida y obra musical. Zaragoza: Institución Fernando el Católico.
  11. ^ Robert Murrell Stevenson Christmas music from baroque México 1974 p58
  12. ^ Arriaga, Gerardo. 2008. José Marín: Tonos y villancicos. Madrid: ICCMU.
  13. ^ González Aktories, Susana y López Cano, Rubén. 2004. "Estrategias intersemióticas en la canción hispana del siglo XVII. El caso de José Marín". Pauta 92, pp. 54-71
  14. ^ López, Cano Rubén. 1999. Música y poesía en las españas de los austrias. El cancionero de la Sablonara
  15. ^ López, Cano Rubén. 2001. “Los tonos humanos como semióticas sincréticas”. En LOLO, Begoña (ed.), Campos interdisciplinares de la musicología. Vol. 2. Madrid: SEdEM. pp. 1167-1185.
  16. ^ López, Cano Rubén. 2001. “The Expressive Zone: Frames, topics, attractors and expressive processes in 17th Century Hispanic Art Song”; Paper presented at 7th International Conference on Musical Signification; Imatra, Finland, June 7–10, 2001
  17. ^ López, Cano Rubén. 2002. “Tonos humanos y análisis musical: una asignatura pendiente”. En CASARES, Emilio y TORRENTE Álvaro (eds.), La ópera en España e Hispanoamérica. Madrid: ICCMU. pp. 193-203.
  18. ^ López, Cano Rubén. 2002. "Cuando la música cuenta. Narratividad y análisis musical en una canción del siglo XVII"; Actas del V y VI Congresos de la SIbE-Sociedad de Etnomusicología, Barcelona: SIbE; pp. 191-210.
  19. ^ López, Cano Rubén. 2002. “From Rhetoric Musical Figures to Cognitive Types: An Italian Lamento Strolling along the Streets of Madrid”; Paper presented at 9th International Doctoral and Postdoctoral Seminar on Musical Semiotics University of Helsinki, November 13–17, 2002.
  20. ^ López, Cano Rubén. 2004. De la Retórica a la Ciencia Cognitiva. Un estudio intersemiótico de los Tonos Humanos de José Marín (ca. 1618-1699.. Tesis doctoral.Universidad de Valladolid.

December 18, 2023
tono, humano, tono, humano, secular, song, main, genres, 17th, century, spanish, portuguese, music, term, tonadas, also, used, tonos, humanos, 17th, century, musical, literature, 17th, century, tonada, distinguished, from, modern, folk, tonada, song, chile, gu. The tono humano secular song was one of the main genres of 17th Century Spanish and Portuguese music 1 The term tonadas is also used for tonos humanos in 17th Century musical literature but the 17th Century tonada is to be distinguished from the modern folk tonada song in Chile or for guitar band in Argentina In the early 17th Century the main vernacular forms for Spanish and Portuguese composers were the villancico usually a Christmas song and the solo tono tono humano if secular tono divino if sacred The cantata form had not yet been introduced from Italy At this point tonos were generally strophic songs coplas with a refrain estribillo 2 3 However by the end of the 17th century some tonos had begun to include recitative and aria sections as the cantada Spanish form of the cantata became known around 1700 The tono humano and tono divino could also have 2 3 or 4 voices 4 Nearly all tonos humanos and semi sacred villancicos were preserved only in manuscript The best copies were in the Royal Palace in Madrid and in the nearby Buen Retiro both of which were lost in fires This and the fall from fashion of the tono and villancico in the Iberian Peninsula means that sources in Latin America are relatively important to recovery of this part of Iberian musical heritage 5 6 7 The Libro de tonos humanos Madrid 1656 Biblioteca Nacional M 1262 is the most substantial Iberian cancionero of the 17th Century with over 200 songs almost all romances with estribillo in 4 voices 8 Additional surviving sources include the Mackworth manuscript 9 The tono was used both in theatre music domestic music and church music Composers active in the composition of tonos humanos include Francisco Guerrero 1528 1599 Juan Blas de Castro 1561 1631 10 Pedro Ruimonte 1565 1627 Gaspar Fernandes 1566 1629 Mateo Romero El maestro capitan 1575 1647 Juan Aranes Libro segundo de tonos y villancicos Rome 1624 Manuel Machado 1590 1646 Carlos Patino 1600 1675 Manuel Correia 1600 1653 Bernardo Murillo fl 1642 1656 song La pastora Juan Hidalgo de Polanco 1612 1685 21 tonos humanos 28 tonos divinos 11 Jose Marin 1618 1699 12 Juan del Vado 1625 1691 Clemente Imana Cristobal Galan 1630 1684 Miguel de Irizar 1635 1684 Juan Romeo fl 1675 Diego Fernandez de Huete 1635 1713 Gaspar Sanz 1640 1710 Tomas de Torrejon y Velasco 1644 1728 Juan de Navas 1647 1709 Francisco Guerau 1649 c 1720 instrumental tonos for guitar Sebastian Duron 1660 1716 Jose de Torres 1665 1738 Francisco Valls 1665 1747 Juan Frances de Iribarren 1699 1767 Jose de Nebra 1702 1768 In the New World the tono was taken up by Juan Serqueira of Lima c 1655 1726 Academic study editIn recent years the tono humano has been the focus of intersemiotic study by musicologists 13 14 15 16 17 18 19 20 References edit Lorenzo Bianconi Music in the seventeenth century 1987 p262 Jeronimo Nieto Magdaleno Rita Goldberg Tonos a lo divino y a lo humano 1981 p28 George J Buelow A history of baroque music 2004 p375 Kurt L Levy Jesus Antonio Ara Gethin Hughes Calderon and the Baroque tradition 1985 p73 Emperor Leopold I in Vienna requests his ambassador in Madrid will you therefore see that you send me some tonos humanos for one two or at most three voices John H Baron Daniel L Heiple Spanish art song in the seventeenth century 1985 Page vii The New Grove dictionary of music and musicians Volume 19 Stanley Sadie John Tyrrell 2001 p235 Judith Zessis Evans The Spanish polyphonic ballad from c 1450 to c 1650 1975 p225 Owen Rees review of Alejandro Vera Musica vocal profana en el Madrid de Felipe IV El Libro de Tonos humanos Music and Letters Volume 86 Number 3 August 2005 pp 468 471 Carreras Juan Jose 2004 El manuscrito Mackworth de cantatas espanolas Madrid Fundacion Caja Madrid Robledo Luis 1989 Juan Blas de Castro ca 1561 1631 vida y obra musical Zaragoza Institucion Fernando el Catolico Robert Murrell Stevenson Christmas music from baroque Mexico 1974 p58 Arriaga Gerardo 2008 Jose Marin Tonos y villancicos Madrid ICCMU Gonzalez Aktories Susana y Lopez Cano Ruben 2004 Estrategias intersemioticas en la cancion hispana del siglo XVII El caso de Jose Marin Pauta 92 pp 54 71 Lopez Cano Ruben 1999 Musica y poesia en las espanas de los austrias El cancionero de la Sablonara Lopez Cano Ruben 2001 Los tonos humanos como semioticas sincreticas En LOLO Begona ed Campos interdisciplinares de la musicologia Vol 2 Madrid SEdEM pp 1167 1185 Lopez Cano Ruben 2001 The Expressive Zone Frames topics attractors and expressive processes in 17th Century Hispanic Art Song Paper presented at 7th International Conference on Musical Signification Imatra Finland June 7 10 2001 Lopez Cano Ruben 2002 Tonos humanos y analisis musical una asignatura pendiente En CASARES Emilio y TORRENTE Alvaro eds La opera en Espana e Hispanoamerica Madrid ICCMU pp 193 203 Lopez Cano Ruben 2002 Cuando la musica cuenta Narratividad y analisis musical en una cancion del siglo XVII Actas del V y VI Congresos de la SIbE Sociedad de Etnomusicologia Barcelona SIbE pp 191 210 Lopez Cano Ruben 2002 From Rhetoric Musical Figures to Cognitive Types An Italian Lamento Strolling along the Streets of Madrid Paper presented at 9th International Doctoral and Postdoctoral Seminar on Musical Semiotics University of Helsinki November 13 17 2002 Lopez Cano Ruben 2004 De la Retorica a la Ciencia Cognitiva Un estudio intersemiotico de los Tonos Humanos de Jose Marin ca 1618 1699 Tesis doctoral Universidad de Valladolid Retrieved from https en wikipedia org w index php title Tono humano amp oldid 1115425515, wikipedia, wiki, book, books, library,

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