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Tonada Cuyana
ACLARACIONES:
Este texto contiene dos artculos titulados Tonada Cuyana, uno en ingls y otro en espaol,
bsicamente con el mismo contenido y estructura.
Primero aparece el artculo que se encuentra en la Bloomsbury Encyclopedia of Popular Music
of the World (EPMOW), tal cual como fue publicado en ingls en 2014:
Snchez, Octavio. Tonada Cuyana. En Bloomsbury Encyclopedia of Popular Music of the World
(EPMOW), John Shepherd and David Horn, Eds. Vol. IX Genres: Caribbean and Latin American. ISBN
(Hardback): 9781441141972. ISBN (ebook): 9781441132253. Bloomsbury Academic, London-New
York, 2014. pp.865-869
En segundo trmino aparece el texto que escrib en espaol en 2008 y que, luego de algunos
ensayos de traduccin y de varias correcciones efectuadas entre 2010 y 2013, dio lugar al
texto publicado en ingls en la EPMOW.
Debido al largo proceso en el que intervinieron diversas voces de editores y traductores
(Pamela Narbona Jerez, John Shepherd y Gabriel Snchez), es que no puede tomarse como que
un texto es la traduccin del otro.
Finalmente sugiero la lectura del artculo Cueca Cuyana, donde aparece informacin
complementaria, ya que ambos gneros comparten los espacios de produccin circulacin y
recepcin.
.....
Tonada Cuyana
Tonada cuyana is one of the most popular genres in the region of Cuyo, Argentina, which
includes the provinces of Mendoza, San Juan, and San Luis. Tonadas (tunes) are songs
which are considered by those who perform them to be the ultimate sign of regional
identity. Along with the cueca cuyana (cueca from Cuyo) and perhaps to a lesser degree
the gato and vals, the tonada cuyana belongs to a musical complex known as msica
popular cuyana de base tradicional (traditional popular music from Cuyo). Performers
involved in this musical complex are called tonaderos, a name which reveals the high
degree of socio-cultural identification that these artists give to the tonada as a
representative of all the other genres.
Tonada Cuyana / 2
Contemporary History of the Musics from Cuyo and the Cultural Industry
Although is it possible to trace the history of cuecas and tonadas back two hundred years
(Aretz 1952; Draghi Lucero 1938; Rodrguez 1938; Vega 1944, 1953, 1956), these genres
are strongly linked to the cultural industry of the 1930s, a decade associated with the
refundacin contempornea de la msica popular cuyana (contemporary rebirth of Cuyos
popular music) (Snchez 2004, 2006). This was a process in which the crystallization of
new forms and the construction of new meanings gave rise to modern referents that are still
recognized today.
These genres became widely popular after a group of performers from Cuyo settled in the
Argentine capital of Buenos Aires in the 1930s to take advantage of the new spaces created
by the radio and record industries. Thanks to these new resources and to the fact that
Buenos Aires is the center of political and economic power, these artists were able to
legitimize their careers and to make regional music available throughout the country.
This first generation of musicians (Fluix 1960) was responsible for the crystallization of
the music. They included: Hilario Cuadros (Los Trovadores de Cuyo), Buenaventura Luna
(La Tropilla de Huachi Pampa), Carlos Montbrun Ocampo (Las Alegres Fiestas Gauchas),
and Alberto Rodrguez and Ismael Moreno. In moving to the capital, recording albums and
making their way into communication media, these artists showed great determination and
a shrewd sense of opportunity. They especially embraced radio broadcastingsome even
became radio hosts and used their shows to promote their own albums. The labor carried
out by these artists was preceded by the so-called precursores (i.e. precursors) Sal
Salinas and Alfredo Pelaia (Vega 1938) who shared airtime with the emerging genre of the
tango porteo as well as other provincial musics in the early twentieth century.
The early mediatization of the music contributed greatly to the crystallization of its
structures, instrumental formats and interpretive styles; eventually, this led to the
appearance of a canon after which local music productions were shaped in order to sound
cuyano. There were surely other ways to make Cuyoan music, but the asymmetric
relationship that was established between mediatized music and the possibilities for
dissemination caused the standardization of a few forms and the disappearance of others.
Traditional practice became entangled with practices and spaces of the mediatized world,
accelerating the circulation of the music and creating unlikely connections that were
unthinkable in earlier times. The references were now in the radio and in recordings.
Years later, noted composer and performer Flix Dardo Palorma emerged as a nexus
between the early mediatized stage and the consolidation stage that followed. Starting in the
mid-1940s, artists such as Antonio Tormo played a key role in the strengthening of the
genres from Cuyo in terms of circulation and widespread reception. Tormo and his Cuyoan
musicians became the first stars of Argentine folclore. Other notable artists included the
ensembles of the brothers Arce and of the brothers Arancibia Laborda.
The characteristic virtuosity of the accompanying guitarists elevated and legitimized this
music on a national level. The most outstanding artists were: Jos Zabala, Alfredo Alfonso,
Tonada Cuyana / 3
Remberto Narvez, Santiago Brtiz, and Tito Francia, among others. While virtuosity was
an asset, it also contributed to the isolation of cuecas and especially of tonadas in the
provincial context where performers did not operate under the same interpretive codes.
In the mid-1950s several events affected national awareness of this music: the silencing of
Tormo following the military dictatorship that ousted Pern in 1955, the deaths of Luna in
1955 and Cuadros in 1956, and the settling of Montbrun Ocampo in Mendoza in 1956,
together dealt a harsh blow to Cuyoan music in Buenos Aires and, as consequence, in the
entire country. By the 1960s the presence of Cuyoan music on a national level had waned
considerably, having been replaced by ensembles from the northern regions of Argentina
(e.g. Los Chalchaleros) as well as American and later British rock music. During this
process musicians holding a more traditionalist view continued to cultivate tonadas. These
so-called continuadores (i.e. those who continue) included, among many others,
Clemente Canciello (Cantares de la Caadita) and Santos Rodrguez (Las Voces del
Plumerillo). On the other hand, some musicians adopted a more critical stance and called
for a renovation of compositional practices. Such was the case, for example, with Tito
Francia (Garca 2006) and Nolo Tejn in the 1960s; Sal Quiroga and Ernesto
Villavicencio in the 1970s; and more recently Jorge Vias in the 1980s and Fabiano
Navarro in the 1990s.
Following the so-called boom del folklore of the 1960s, music from the northern and
north-central regions of the country became privileged by the industry and state cultural
policies, a trend which gained traction in the 1960s, became more intense in the 1990s and
has continued well into the twenty-first century.
The answer to the gradual decrease in visibility of the Cuyoan genres on a national level
lies on the return to the regional circuit. However, this does not imply a return to traditional
procedures. Rather, what has happened is the re-dimensioning and re-signification of global
practices on a local scale, with modes of dissemination which are paramediatic and
labyrinthine. In the ultra-local circuit industrial practices (radio, recordings, live
performances) are present but on a much smaller scale. Consequently, these mediations
become neutralized: musicians record their CDs, which they sell themselves directly to
their followers, and artists are featured on the radio but by stations with a limited frequency
and hence a restricted audience. This ultra-local circuit was defined in the 1980s by the
abundant production of self-funded albums; the appearance of local recording studios; the
existence of small labels and independent publishers; the airtime provided by specialized
AM and FM radio stations; the organization of neighborhood peas (i.e. popular street
music festivals); and the tense relationship with massive musical spaces such as large
festivals, the hegemonic recording industry, national communication media, and the states
cultural politics.
The names cueca and tonada are used to designate two important events: the Fiesta
Nacional de la Tonada (National Festival of the Tonada) (in Tunuyn since 1972) and the
Fiesta Nacional de la Cueca y el Damasco (National Festival of the Cueca and Damasco)
(in La Dormida since 1974). Both festivals attract more than 150,000 spectators every year.
Nevertheless, these events have prioritized the appearance of young stars of the Folklore
Tonada Cuyana / 4
Joven (Young Folklore) since the mid-1990, featuring artists such as Soledad, Luciano
Pereyra, Los Nocheros, and El Chaqueo Palavecino; paradoxically, none of these artists
perform Cuyoan genres. Authentic performers of tonadas, cuecas, valses and gatos such as
El Trbol Mercedino, Las Voces del Chorrillero, Juanita Vera, Los Navarro, Los
Manantiales, and Los Hermanos de la Torre, have occupied secondary slots in these
festivals and sometimes have not been hired at all.
Although these genres moved fluidly between traditional and mediatized spaces for
decades, today they have been marginalized from the market. However, their names
continue to be exploited in festivals, appealing to the socio-cultural identity traditionally
attached to them even though they have suffered a significant emptying of their content. In
summary, these genres have been replaced by the music and artists being promoted from
Buenos Aires.
Figure Structures
Some 1. Cuyoan popular musicthe
that Define with a traditional
Tonada Cuyana base and the Argentine cultural industry.
Unlike cuecas, tonadas are songs that are not meant to be danced to. The absence of
choreography makes the formal structure of the tonada varied at both micro- and macro-
levels. In addition, the genre has maintained a dialectic relationship with other popular
genres such as estilo, triste, vals, zamba, and cueca, incorporating structures and modalities
characteristic of these genres into its compositions. This phenomenon makes classification
and analysis difficult (Jacovella 1969; Mart 2004). However, the structure of the
accompaniment reveals a specific rhythm that homogenizes a large number of compositions
and renditions from the mediatized stage; this rhythm is one of the main characteristics of
the most widely known tonada from the time of consolidation onwards.
Example 1. Strumming of the guitarrn or guitar in a tonada cuyana. Top line: high strings. Bottom
The line:
tonadas that areInverted
low strings. accompanied byclick
triangle: thisorstrumming
snap. pattern on the instrument, functioning
as rhythmic-harmonic support, are those which the experts recognize as tonadas cuyanas.
(For information with regard to instrumentation and timbral choices in popular music from
Cuyo - considerations which also apply to the tonada as member of a larger musical
complex see the entry on cueca cuyana.)
Tonada Cuyana / 5
The macro-level structure of the contemporary tonada cuyana often features three sections
of similar music but different lyrics.
(opening Song Song Song
strumming) With brief Instrumental With brief Instrumental With brief
instrumental interlude instrumental interlude instrumental
Instrumental sections between (similar to the interludes (similar to the sections
introduction verses intro) between verses intro) between verses
(4 12 mm.) (18 28 mm.) (4 12 mm.) (18 28 mm.) (4 12 mm.) (18 28 mm.)
Section One Section Two Section Three
Section three generally involves the singing of a cogollo, a dedication which is sung over
the same musical and literary structures but with the addition of the dedicatees name
between verses. This is often the most emotive section in the song, which ends with a
rallentando and an arpeggiated chord. Some recordings feature tonadas with only two
sections, similar to most Argentine folk genres. However, when these works are performed
live the third section involving the cogollo is added.
At the micro-level structure, following the instrumental introduction (normally played by
the guitars and often in a virtuosic manner) two very different themes appear in the singing
line. These themes are often in neighboring tonalities and are connected by a brief
instrumental section. The second theme often reappears with the same text in other sections
and may function as a refrain. Also, the title of the song is frequently taken from one of the
lines in this text.
One of the oldest and most popular forms features an 18-measure Song (Cancin)
section. Two examples are the songs Quien te amaba ya se va (The One Who Loved You
is Leaving Now), an anonymous song compiled by Alberto Rodrguez and Juan Draghi
Lucero (1938); and La tonadita cuyana (The Little Tune from Cuyo) by the most
representative composer of the crystallization stage, Hilario Cuadros.
Inst.
(voice) nexus (voice) (voice)
M
a (6 mm.) (2 mm.) b (4 mm.) a (6 mm.)
A (8 mm.) B (10 mm.)
Verse 1 Verse 2
L
(3 octosyllabic lines) (5 octosyllabic lines)
Figure 3. 18-measure Song section of a tonada cuyana. Quien te amaba ya se va (anon.) and La
tonadita cuyana (Hilario Cuadros). Lyrics (L), Music (M)
The absence of choreography allows for these 18 measures to be organized in any manner.
In Roberto Quirogas song Se fueron los sueos mos (My Dreams Are Gone) the
structure (Fig. 4) corresponds to the renditions by Los Caballeros de Cuyo and by the solo
Tonada Cuyana / 6
artist Angelita Aguilera. Roberto Quiroga was a member of Cantares de la Caadita, one of
the ensembles following the more traditionalist vein of the continuadores.
Instr.
(voice) (voice) (voice) nexus (voice) (voice)
M a (4 mm.) b (4 mm) c (2 mm) (2 mm) d (4 mm) c (2 mm)
A (12 mm) B (6 mm)
Verse Refrain
L (5 octosyllabic lines) (3 octosyllabic lines)
Figure 4. Another organization of the 18-measure Song section of a tonada cuyana. Se fueron los
sueos mos (Roberto Quiroga), also known as Son penas mas noms
Unlike the cueca, the harmonic structure of the tonada is not standardized. However, both
genres possess similar general characteristics, such as: the use of the major mode; the
combination of I, IV, and V chords and the use of secondary dominants, especially V/IV
and V/V; the presence of passing diminished chords; and harmonic passages that are clearly
demarcated by 2- or 4-measure cadences.
Vocal lines are set in 6/8 in alternation with 3/4, and are organized in verses of 3 to 6
octosyllabic lines. Frequently, either the melody or the accompaniment leaves 6/8 (the
voice often ends phrases in 3/4, or the guitarrn ceases the strumming marking the bass in
quarter notes), producing a metric contrast between the two. Occasionally three compatible
metric strata are superimposed creating a complex polymetric texture (Example 2).
The moderate tempo (54 to 62 dotted-quarter beats per minute) allows for the frequent
duplication of instrumental melodies. The tempo reflects the profound and transcendent
connotations of the tonada, where themes of unrequited love, longing for lost love, and
long-lasting relationships are prevalent. One of the privileged themes of this genre is the
tonada itself as a signifier of socio-cultural identity.
Example 2. Polymetric texture of the tonada cuyana. (a.) Vocal melody in 3/4; (b.) Contrapuntal
guitar melody in 12/16; and (c.) Guitarrn strumming in 6/8.
Tonada Cuyana / 7
Examples of self-referential tonadas are: La tonadita cuyana (The Little Tune from
Cuyo) by Cuadros/Lucero (1952); Las tonadas by Palorma (1968); La tonada jams
morir (The Tonada will Never Die) by Valles/Villavicencio (1982); Regreso a la
tonada (Return to the Tonada) by Francia/Tejada Gmez (1972); and ndale tonada (Go
on Tonada) by Vias (1973).
The fact that tonadas are not associated with a dance allowed for freedom in their
execution. In the un-mediatized context of peas and in the home tonadas create a solemn
and intimate mood. The mix of its earnest character, transcendent meanings and slow
tempo have made the tonada a genre that is not popular in mediatized situations (Snchez
2005b); instead, gatos and cuecas are much more frequent in large festivals, thanks to their
upbeat, cheeky, and festive character.
Bibliography
Aretz, Isabel. 1952. El folklore musical argentino. Buenos Aires: Ricordi Americana.
Draghi Lucero, Joan. 1938. Cancionero popular cuyano. Mendoza: Best Hermanos.
Draghi Lucero, Juan. 1992 (1938). Cancionero popular cuyano. 2nd edn. Mendoza:
Facultad de Filosofa y Letras UNCuyo y Ediciones Culturales de Mendoza. (Lacks scores)
Draghi Lucero, Juan. 1997 (1938). Cancionero popular cuyano. Mendoza: Ediciones del
Canto Rodado. (Reprint of scores from original edition)
Garca, Mara Ins. 2006. Tradicin y renovacin. Historia social de las prcticas
musicales de Tito Francia. [Tradition and Renovation: Social History of the Musical
Practices of Tito Francia] Unpublished Masters thesis Facultad de Artes, Universidad de
Chile.
Goyena, Hctor Luis. 2002. Tonada. II. Argentina. In Diccionario de la msica espaola
e hispanoamericana, ed. Emilio Casares Rodicio. Madrid: SGAE, Vol. 10, 340-1.
Mart, Leopoldo. 2004. Tonada cuyana. Material de clase indito de la asignatura Msica
Popular Argentina I. Grupo de carreras musicales, Facultad de Artes y Diseo, Universidad
Nacional de Cuyo. [Tonada Cuyana. Unpublished class material for Popular Music in
Argentina I course. Music major, School of Art and Design, National University of Cuyo]
Tonada Cuyana / 8
Moreno, Ismael. 1936. El cancionero mendocino. lbum de canciones para canto y piano.
N1. [Songbook from Mendoza: song album for voice and piano].Buenos Aires: Peuser.
Sadie, Stanley, and Tyrrell, John, eds. 2001. Tonada. In The New Grove Dictionary of
Music and Musicians. 2d ed. London: Macmillan, Vol. 25, 581.
Vega, Carlos. 1944. Panorama de la msica popular argentina. Buenos Aires: Losada.
Vega, Carlos. 1953. La zamacueca (cueca, zamba, chilena, marinera). La zamba antigua.
Buenos Aires: Julio Korn.
Vega, Carlos. 1956. El origen de las danzas folklricas. Buenos Aires: Ricordi Americana.
Tonada Cuyana / 9
Vega, Carlos. 1989 (1938). Breve estudio preliminar [Short Preliminary Study]. In
Cancionero Cuyano, ed. Alberto Rodrguez. Mendoza: Ediciones Culturales de Mendoza,
15-21.
Discographical References
Aguilera, Angelita. La tonadita cuyana. Quien te amaba ya se va,. Son penas mas
noms. La seora de la tonada. R.P.1030. N.d.: Argentina.
Caballeros de Cuyo, Los. Se fueron los sueos mos. Cantando puras tonadas Vol.6. R.P.
1057. N.d.: Argentina.
Cacace-Aliaga. La tonada jams morir. La tonada jams morir. UTOPA 904. 2003:
Argentina.
Palorma, Flix Dardo. Las tonadas. Palorma en su propia voz. La Cofra Records CR255.
2000: Argentina.
Sosa, Pocho. Regreso a la tonada. Pocho Sosa canta a Tejada Gmez. EPSA Music
16023. s/i: Argentina.
Trovadores de Cuyo, Los. La tonadita cuyana. Tierra de amigos. Leader 0279 2 3. 2006:
Argentina.
Vera, Juanita. ndale tonada. Canto a los cuatro vientos. La Cofra Records CR275. 2007:
Argentina.
Discography
Msica popular de Lagunas del Rosario I-II. Archivo sonoro. Mendoza Suena. 1999:
Argentina.
.........
Tonada Cuyana / 11
Tonada Cuyana
La tonada cuyana es uno de los gneros populares de mayor vigencia en la regin de Cuyo
(Argentina), zona integrada por las provincias de Mendoza, San Juan y San Luis. Las
tonadas son canciones consideradas por sus cultores como el signo de identidad regional
por excelencia. Junto con la cueca cuyana, y en menor medida con el gato y el vals,
conforman un complejo musical que sealamos como msica popular cuyana de base
tradicional. Los intrpretes de todo este complejo genrico se denominan tonaderos. Esto
muestra el alto grado de identificacin sociocultural que le otorgan los cultores a la tonada,
ya que, en cierta manera, sirve para representar a los dems gneros.
Seguramente existieron otras maneras de hacer msica cuyana, pero la relacin de asimetra
que se establece con la msica mediatizada en cuanto a las posibilidades de difusin,
provoc la estandarizacin de unas cuantas formas con la consecuente prdida de vigencia
de las otras. Los hbitos tradicionales se vieron entrelazados con prcticas y espacios del
mundo mediatizado, acelerando la circulacin de las msicas y creando nexos imposibles
de pensar en pocas anteriores. Los referentes ahora estaban en la radio y el disco.
Aos despus, Flix Dardo Palorma irrumpi en la historia de esta msica
destacndose como compositor e intrprete; fue un nexo entre esa primera etapa
mediatizada y la siguiente, que hemos denominado de la consolidacin. En este periodo,
desde mediados de los 40, la carrera de Antonio Tormo jug un rol fundamental en el
afianzamiento de los gneros de Cuyo desde la circulacin y recepcin masiva. Tormo y
sus msicos cuyanos fueron las primeras estrellas del folklore argentino. Se destacaron
adems los conjuntos integrados por los hermanos Arce y los hermanos Arancibia Laborda.
El virtuosismo de los guitarristas acompaantes, caracterstico en estas msicas,
gener prestigio y legitimacin a nivel nacional; se destacaron Jos Zabala, Alfredo
Alfonso, Remberto Narvez, Santiago Brtiz y Tito Francia, entre otros. Pero, este factor
contribuy al aislamiento de cuecas y, especialmente, de tonadas en el contexto de las
dems msicas provincianas, ya que pocos instrumentistas no cuyanos manejaban sus
cdigos interpretativos.
Poco antes de 1960 la msica cuyana comienza a perder vigencia nacional. A
mediados de los 50, el silenciamiento de Tormo por la dictadura militar que derroca a Pern
(1955), las muertes de Luna (1955) y de Cuadros (1956), y la radicacin de Montbrun
Ocampo en Mendoza (1956), provocaron una grave prdida de visibilidad de msica y
msicos cuyanos en los medios de Buenos Aires y en consecuencia, en todo el pas. Estos
lugares estaban siendo ocupados por conjuntos musicales norteos, liderados por Los
Chalchaleros, y por las primeras importaciones del exitoso rock and roll estadounidense, y
posteriormente por el britnico. En este proceso aparecieron los continuadores, algunos
identificados ms con una lnea tradicionalista, como Clemente Canciello (Cantares de la
Caadita), Santos Rodrguez (Las Voces del Plumerillo), entre muchos otros. Otros en
cambio, adoptaron una postura ms crtica que signific una renovacin en la composicin,
aunque no tanto en la interpretacin, tal el caso de Tito Francia (Garca 2006) y Nolo
Tejn; posteriormente, Sal Quiroga, Ernesto Villavicencio y, ms recientemente, Jorge
Vias y Fabiano Navarro, entre otros.
Desde el denominado Boom del Folklore de los 60, las msicas del norte y centro-
norte del pas se constituyeron en los gneros privilegiados por la industria y las polticas
culturales estatales, tendencia que se ha acentuado en las ltimas dcadas.
circuito, que denominamos ultra local, queda definido desde los 80 por una abundante
produccin discogrfica autogestionada, la aparicin de estudios de grabacin locales, la
existencia de pequeos sellos y ediciones independientes, la circulacin por la radiofona en
emisoras o programas especializados de AM y FM, la realizacin de presentaciones en
peas barriales, y una relacin tensa con los espacios masivos musicales: los festivales, la
industria discogrfica hegemnica, los medios de circulacin nacionales y las polticas
culturales del Estado.
Los nombres cueca y tonada son empleados para designar dos eventos masivos: la
Fiesta Nacional de la Tonada (Tunuyn, desde 1972) y la Fiesta Nacional de la Cueca y el
Damasco (La Dormida, desde 1974), convocando entre ambos a ms de 150.000
espectadores cada ao. Sin embargo, estos espacios de circulacin han priorizado desde
mediados de los 90 la visita de las estrellas del movimiento de Folklore Joven, esto es,
Soledad, Luciano Pereyra, Los Nocheros o El Chaqueo Palavecino, que paradjicamente
no incluyen gneros de Cuyo en sus presentaciones. Cultores genuinos de tonadas, cuecas,
valses y gatos, como El Trbol Mercedino, Las Voces del Chorrillero, Juanita Vera, Los
Navarro, Los manantiales o Los Hermanos de la Torre, han ocupado espacios secundarios
en estos festivales y muchas veces ni siquiera han sido contratados.
Hoy estos gneros, que durante dcadas circularon fluidamente por los espacios
tradicionales y mediatizados del pas, son marginales desde el punto de vista del mercado;
sin embargo sus nombres se siguen explotando en los festivales, apelando a la
identificacin sociocultural que provocan, pero habiendo sufrido un significativo
vaciamiento de contenido, siendo desplazados en la realidad por otras msicas y otros
artistas impulsados desde el centro de distribucin de Buenos Aires.
Figura 2: Rasguido de guitarrn o guitarra en tonada cuyana. Lnea inferior: cuerdas graves. Lnea
superior: cuerdas agudas. Pequeo tringulo: chasquido.
Las tonadas que son acompaadas con este rasguido en el instrumento que funcione
como soporte rtmico armnico, son las reconocidas indiscutiblemente por los cultores
como tonada cuyana. En la entrada cueca cuyana se encuentran las explicaciones referidas
a la instrumentacin y la tmbrica de las msicas populares cuyanas, consideraciones
vlidas para la tonada, gnero integrante de ese complejo musical.
En cuanto a la macro forma, muy frecuentemente la tonada cuyana actual tiene tres
partes, con igual msica y distinto texto.
frecuentemente reaparece en las dems partes con el mismo texto, donde suele encontrarse
el verso que le da ttulo a la cancin.
Una de las formas de mayor vigencia y profundidad histrica, entre otras, es la
tonada donde el bloque Cancin es de 18 compases. Por ejemplo, Quien te amaba ya se
va, annima, recopilada por Alberto Rodrguez y Juan Draghi Lucero (1938), y La
tonadita cuyana, del mximo referente de la cristalizacin: Hilario Cuadros.
Al no existir coreografa, estos 18c pueden estar organizados de otra forma. Por
ejemplo, en Se fueron los sueos mos, de Roberto Quiroga, integrante de uno de los
conjuntos continuadores de la lnea tradicional, Cantares de la Caadita. La estructura
presentada (Fig.5) corresponde a las versiones de Los Caballeros de Cuyo y de la cantante
Angelita Aguilera.
Figura 5: otra organizacin del bloque Cancin de tonada cuyana de 18c. Se fueron los sueos mos
(Roberto Quiroga), tambin conocida como Son penas mas noms.
Figura 6: textura polimtrica en tonada cuyana; (a.) meloda vocal en 3/4, (b.) meloda
contrapuntstica de las guitarras en 12/16 y (c.) rasguido del guitarrn en 6/8.
Bibliografa
Aretz, Isabel. 1952. El Folklore Musical Argentino. Buenos Aires: Ricordi Americana.
Draghi Lucero, Juan. 1992 (1938). Cancionero Popular Cuyano. 2 edicin. Dos Tomos.
Mendoza: Facultad de Filosofa y Letras UNCuyo y Ediciones Culturales de Mendoza.
Tonada Cuyana / 17
Draghi Lucero, Juan. 1997 (1938). Cancionero Popular Cuyano. Mendoza: Ediciones del
Canto Rodado.
Fluix, Ernesto. 1960. Un siglo de msica de Mendoza. Mendoza: DAccurzio.
Garca, Mara Ins. 2006. Tradicin y renovacin. Historia social de las prcticas
musicales de Tito Francia. Tesis del Magster en Artes, mencin Musicologa, indita.
Facultad de Artes, Universidad de Chile.
Goyena, Hctor Luis. 2002. Tonada. II. Argentina. En Diccionario de la Msica Espaola
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