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Statements

Subject Item
dbr:Tono_humano
rdf:type
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rdfs:label
Tono humano Tono humano Tono humano
rdfs:comment
Se conoce como tono humano o simplemente tono a cualquier composición musical en lengua romance de carácter profano del siglo XVII español, en contraposición a los tonos a lo divino, de temática religiosa. Como casi todas las composiciones vernáculas de la época, predomina la estructura bipartita de estribillo y glosas, aunque también hay numerosos ejemplos que consisten en series de estrofas y otras variantes formales. The tono humano (secular song) was one of the main genres of 17th Century Spanish and Portuguese music. 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. 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. Additional surviving sources include the Mackworth manuscript. Tono humano o semplicemente tono è una canzone strofica che rappresenta il genere di musica vocale profana più importante del XVII secolo spagnolo.
dcterms:subject
dbc:Spanish_music
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dbr:Juan_del_Vado dbr:Francisco_Valls dbr:José_Marín_(composer) dbr:Cristóbal_Galán dbr:Juan_de_Navas dbr:Juan_Francés_de_Iribarren dbr:Juan_Hidalgo_de_Polanco dbr:José_de_Nebra dbc:Spanish_music dbr:Juan_Blas_de_Castro dbr:Iberian_Peninsula dbr:Miguel_de_Irízar dbr:Villancico dbr:Carlos_Patiño dbr:José_de_Torres dbr:Juan_Serqueira dbr:Cantata dbr:Floruit dbr:Sebastián_Durón dbr:Chile dbr:Tomás_de_Torrejón_y_Velasco dbr:Mateo_Romero_(composer) dbr:Tonada dbr:Gaspar_Sanz dbr:Francisco_Guerau dbr:Francisco_Guerrero_(composer) dbr:Manuel_Machado_(composer) dbr:Diego_Fernandez_de_Huete dbr:Juan_Arañés dbr:Manuel_Correia_(composer) dbr:Argentina dbr:Gaspar_Fernandes dbr:Pedro_Ruimonte
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dbt:Music_of_Spain
dbo:abstract
Se conoce como tono humano o simplemente tono a cualquier composición musical en lengua romance de carácter profano del siglo XVII español, en contraposición a los tonos a lo divino, de temática religiosa. Como casi todas las composiciones vernáculas de la época, predomina la estructura bipartita de estribillo y glosas, aunque también hay numerosos ejemplos que consisten en series de estrofas y otras variantes formales. Durante la primera mitad del siglo XVII predominan los tonos polifónicos, destacando compositores como Mateo Romero o Juan Blas de Castro.​ A partir de mediados de siglo empieza a florecer el tono monódico con acompañamiento de bajo continuo que se convertirá en el modelo predominante en las últimas décadas del siglo, de la mano de compositores como Juan Hidalgo, José Marín​ o Sebastián Durón. A principios del siglo XVIII el tono humano será reemplazado progresivamente por la cantata profana (en español denominada «cantada»), que adopta el modelo italiano compuesto de recitativos (llamados en España recitados) y arias, con algunas secciones típicamente españoles como el «grave», en metro ternario, que suele servir de conclusión. El cultivador más destacado de la cantada profana fue José de Torres.​ The tono humano (secular song) was one of the main genres of 17th Century Spanish and Portuguese music. 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). 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. 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. 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. Additional surviving sources include the Mackworth manuscript. 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) * Pedro Ruimonte (1565–1627) * Gaspar Fernandes (1566–1629) * Mateo Romero El maestro capitán (1575–1647) * Juan Arañés - Libro segundo de tonos y villancicos, Rome 1624 * Manuel Machado (1590–1646) * Carlos Patiño (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 * José Marín (1618–1699) * Juan del Vado (1625–1691) * Clemente Imaña * Cristóbal Galán (1630–1684) * Miguel de Irízar (1635–1684) * Juan Romeo (fl. 1675) * (1635–1713) * Gaspar Sanz (1640–1710) * Tomás de Torrejón y Velasco (1644–1728) * Juan de Navas (1647–1709) * Francisco Guerau (1649–c 1720) - instrumental tonos for guitar. * Sebastián Durón (1660–1716) * José de Torres (1665–1738) * Francisco Valls (1665–1747) * Juan Francés de Iribarren (1699–1767) * José de Nebra (1702–1768) In the New World the tono was taken up by: * of Lima (c.1655–1726) Tono humano o semplicemente tono è una canzone strofica che rappresenta il genere di musica vocale profana più importante del XVII secolo spagnolo.
gold:hypernym
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