Information om | Engelska ordet TONADA

Rodrigo Pincheira, author of the book Somos tontos, no pesados: cosas que pasaron en Conce y otros amores incompletos, called the album a "postmodern album", highlighting the eclectic nature of both the album and the band's career, commenting that "what this self-titled album has is a musical approach that speaks very well with the musical past of Chile, a place where I think many processes are quite postmodern, I mean, being a rock band that does bolero as well as other music like rockabilly, rock & roll, jazz, and even hinting at what they would do next, specifically towards Chilean music, like tonada and cueca, was something interesting that was not being done at the time".
These songs were actually in the form of urban guarachas (not proper rumbas), which had a binary meter in contrast to the ternary meter of traditional rural genres such as tonada and zapateo.
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 this way, he incorporated rhythms such as charleston, waltz ("Yo vengo de San Rosendo" or "Campo lindo"), cuecas ("La revolta"), tango-habanera ("Je suis Pierre") and tonada ("Tonada de medianoche").

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