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Tono humano
The tono humano (secular song) was one of the main genres of 17th Century Spanish and Portuguese music.〔Lorenzo Bianconi Music in the seventeenth century 1987 p262〕
: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).〔Jerónimo Nieto Magdaleno, Rita Goldberg Tonos a lo divino y a lo humano 1981 p28〕〔George J. Buelow A history of baroque music 2004 p375〕 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.〔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"〕
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