The tonada is a folk music style of Spain and some countries of Hispanic America (mainly Argentina, Chile, Peru, Bolivia and Venezuela). In modern-day Spain, the traditional sung piece known as tonada is considered as having been originated in Asturias and Cantabria, although tonada (from "tone") is a Spanish word which can mean anything sung, played or danced, musicological usage in Spanish and English is more specific. [1]
The baroque tonada is distinct from the tono humano or tonado, secular song, a main genre of 17th-century Spanish and Portuguese music. Examples of the baroque tonada are found in the Codex Martínez Compañón. [2]
The Argentine form of the tonada originates from Cuyo Region and is usually played by guitar group.
The modern rural Chilean folk tonada is typically a simple "monotonous" [3] [4] slow-moving song with a melancholy theme. [5] [6]
In Venezuela the tonada tend to be presented as work songs that accompany various tasks such as milking, farming, herding, hunting, fishing, threshing, grinding corn, harvesting and rest of rural man. These songs, in addition to constituting a labor rite, symbolize the spirit of coexistence among those who perform common tasks.
According to the Venezuelan musician, composer and musicologist Luis Felipe Ramón y Rivera, the tonadas are utilitarian songs that are characterized by their monodic system, in which harmony is clearly established by long notes of six, eight or more moderate times. that enclose the cadences.
These songs are measurable and interspersed cries and jipíos according to the need of the work, depending on the milking or the drive. As for the scales to which these melodies are adjusted, they vary among themselves, according to the type of regional music. Thus, a song of the Táchira state to harvest coffee differs a lot from a llanero ridge for the drive. But, in general, all show an old character.
The deceased Venezuelan singer-songwriter and musician Simón Díaz was the greatest exponent of this genre, who rescued and made known during his recording career.
The music of Latin America refers to music originating from Latin America, namely the Romance-speaking regions of the Americas south of the United States. Latin American music also incorporate the Indigenous peoples of the Americas. Due to its highly syncretic nature, Latin American music encompasses a wide variety of styles, including influential genres such as cumbia, bachata, bossa nova, merengue, rumba, salsa, samba, son, and tango. During the 20th century, many styles were influenced by the music of the United States giving rise to genres such as Latin pop, rock, jazz, hip hop, and reggaeton.
Nueva canción is a left-wing social movement and musical genre in Latin America and the Iberian peninsula, characterized by folk-inspired styles and socially committed lyrics. Nueva canción is widely recognized to have played a profound role in the pro-democracy social upheavals in Portugal, Spain and Latin America during the 1970s and 1980s, and was popular amongst socialist organizations in the region.
Violeta del Carmen Parra Sandoval was a Chilean composer, singer-songwriter, folklorist, ethnomusicologist and visual artist. She pioneered the Nueva Canción Chilena, a renewal and a reinvention of Chilean folk music that would extend its sphere of influence outside Chile.
Chilean music refers to all kinds of music developed in Chile, or by Chileans in other countries, from the arrival of the Spanish conquistadors to the modern day. It also includes the native pre-Columbian music from what is today Chilean territory.
A work song is a piece of music closely connected to a form of work, either sung while conducting a task or a song linked to a task that might be a connected narrative, description, or protest song. An example is "I've Been Working on the Railroad".
Cueca is a family of musical styles and associated dances from Chile, Argentina, and Bolivia. In Chile, the cueca holds the status of national dance, where it was officially declared as such by the Pinochet dictatorship on September 18, 1979.
The Chacarera is a dance and music that originated in Santiago del Estero, Argentina. It is a genre of folk music that, for many Argentines, serves as a rural counterpart to the cosmopolitan imagery of the Tango. A dance form played by contemporary musicians as soloists or in small ensembles of voice, guitar, violin and bombo drum, the Chacarera is often legitimized by its “origin” in the remote province of Santiago del Estero.
"¡El pueblo unido jamás será vencido!" is a Chilean protest song, whose music was composed by Sergio Ortega Alvarado and the text written in conjunction with the Quilapayún band. Together with the song "Venceremos", also by Ortega, it is one of the most successful songs of the Nueva canción chilena movement. The theme has a marching rhythm, highlighting its chorus, which is a shout or slogan with only percussion. The song has been used in various protests around the world against either left or right-wing dictatorships, most of which have no direct connection to the Chilean coup or Latin America. The lyrics have been adapted or translated into many languages.
Lithuanian folk songs are often noted for not only their mythological content but also their relating historical events.
Eduardo Egüez is a lutenist, theorbist, and guitarist acclaimed for his interpretations of music by J.S.Bach.
The tono humano was one of the main genres of 17th Century Spanish and Portuguese music.
Los Huasos Quincheros are a popular Chilean folk musical group, first formed in 1937. It currently consists of the musicians Antonio Antoncich, Jose Vicente Leon and Rafael Prieto. The group was nominated for an International Music Prize in 1970.
"¡Ay, ay, ay!", subtitled "Reminiscencias cuyanas", is a song composed in 1913 by the Chilean-born composer, pianist, singer and publisher Osmán Pérez Freire. Freire, who emigrated to Mendoza, Argentina in c.1886-1890, was a figure of some note in the evolution of Tango. This song, however, known worldwide, is his most famous composition, and has never fallen out of fashion. It is equally suited to intimate performance with guitar or piano accompaniment, or to large-scale concert delivery with orchestral accompaniment, and has been sung by almost everyone, and especially favoured by some of the most famous tenors, since it was first written.
Son mexicano is a style of Mexican folk music and dance that encompasses various regional genres, all of which are called son. The term son literally means "sound" in Spanish, and is also applied to other unrelated genres, most notably son cubano.
Nueva canción chilena was a movement and genre of Chilean music incorporating strong political and social themes, taking influences from traditional or folk music of Chile. The movement was to spread throughout Latin America during the 1960s and 1970s, in what is called "Nueva canción" sparking the renewal in traditional folk music and playing a key role in political movements in the region.
Raquel Barros Aldunate was a Chilean folklorist, noted for her studies and dissemination of Chilean folk music and dance.
Mexican music enjoys widespread popularity in some social and geographic sectors of Chile. In particular, Mexican music is especially popular among Chilean rural lower classes. Geographically, Mexican music is most popular in south-central Chile, but there are also significant audiences elsewhere, such as in the northern city of La Serena. Mexican corridos commonly perform in Chilean national day celebrations of Fiestas Patrias.
Francisco Flores del Campo, also known as Pancho Flores, was a Chilean composer, instrumentalist and actor, considered one of the most relevant composers of popular music in the country. He won the folk competition of the Viña del Mar International Song Festival in 1964 with the tune "Qué bonita va", performed by Los Huasos Quincheros.
Sylvia Elvira Infantas Soto is a Chilean singer, actress, and folklorist.