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133:, and St. Rose of Lima. In colonial Mexico, villancicos were performed before mass on special feast days as part of a theatrical spectacle that served as lighthearted, comical entertainment which drew large crowds from all sectors of society and included ornate costuming and stage effects to accompany the musical numbers and spoken dialogue. Some have argued that it was the juxtaposition of these disparate, incongruent elements—the sacred against the profane, the refined against the vulgar, the high against the low—that gave the villancico its mass popularity.
109:
The villancico developed as a secular polyphonic genre until religious villancicos gained popularity in the second half of the 16th century in Spain and its colonies in Latin
America. These devotional villancicos, which were sung during matins of the feasts of the Catholic calendar, became extremely
136:
While the villancico in Spain and its
American colonies generally share a common history of development, the Latin American villancico tradition is particularly known for its incorporation of dialects and rhythms drawn from its diverse ethnic population. The texts were mostly in Spanish, but some
153:
lyrics, however, offer intriguing fraternal sentiments, such as the negro for Jan. 31, 1677 by the famed villancico poet Sor Juana Inés de la Cruz, which sings "tumba, la-lá-la, tumba la-lé-le/wherever Peter enters, no one remains a slave". Other examples of "ethnic" villancicos include the
140:
Frequently named after the ethnic group that was characterized in the lyrics, these humorous songs were often accompanied by non-orchestral, "ethnic" instruments, such as rattles, tambourines, bagpipes, and gourds, while the lyrics mimicked the speech patterns of these groups. For example,
125:, a hymn of thanksgiving reserved for the high feasts. An enormous number of villancicos were written in the Spanish world for such feasts as the Immaculate Conception, Christmas, Epiphany, Corpus Christi, Ascension, Assumption, and other occasions of the
101:
Derived from medieval dance forms, the 15th century
Spanish villancico was a type of popular song sung in the vernacular and frequently associated with rustic themes. The poetic form of the Spanish villancico was that of an estribillo (or
110:
popular in the 17th century and continued in popularity until the decline of the genre in the 18th and 19th centuries. Its texts were sometimes didactic, designed to help the new converts understand and enjoy the new religion.
106:) and coplas (stanzas), with or without an introduction. While the exact order and number of repetitions of the estribillo and coplas varied, the most typical form was a loose ABA framework, often in triple meter.
149:", imitated African speech patterns and used onomatopoeic phrases such as, "gulungú, gulungú" and "he, he, he cambabé!" possibly to invoke a childlike and uneducated stereotype of that marginalized group. Other
487:, "The Villancicos of the Guatemalan Composer Raphael Antonio Castellanos (d. 1791): A Selective Edition and Critical Commentary," Washington, D.C.: The Catholic University of America, Ph.D. dissertation, 1990.
264:. Each line of a vilancete is usually divided in five or seven metric syllables ("old measure"). When the last line of the mote is repeated at the end of each stanza, the vilancete is "perfect".
179:
944:
373:, about the countryside and the shepherds, about 'the perfect woman' and about unrequited love and consequent suffering. Iberian poets were strongly influenced by
458:
Paul W. Borg, "The
Polyphonic Music in the Guatemalan Music Manuscripts of the Lilly Library," 4 vols., Bloomington: Indiana University, Ph.D. dissertation, 1985.
178:
styles, including homophony, imitative polyphony, and polychoral settings. Among the most outstanding New World composers of villancicos are
477:
Laird, Paul R. "Literary
Evidence and Ceremonial Use of the Villancico at San Lorenzo del Escorial Through the Late Seventeenth Century."
440:
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580:
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234:—the beginning of the poem, which functions, when in music, as a refrain—followed by one or more intervening stanzas—the
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liturgical year. Others were written for important saints' days such as
Santiago (St. James), St. Peter and Paul,
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service nine villancicos could be performed, or at least eight if the last responsory was substituted by the
79:
449:
174:(chapel master) at the major cathedrals in Spain and the New World, wrote in many different renaissance and
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95:
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17:
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70:
and Latin
America popular from the late 15th to 18th centuries. Important composers of villancicos were
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was structured in three nocturnes, each with three readings and responsories. Thus, during each
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2160:
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1622:
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441:Álvaro Torrente, "The Villancico in Early Modern Spain: Issues of Form, Genre and Function".
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Historia de la Música en España e
Hispanoamérica 2. De los Reyes Católicos a Felipe II
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1967:
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67:
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463:
Devotional Music in the
Iberian World, 1450-1900: The Villancico and Related Genres.
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employed pseudo-African, Náhuatl, or corrupt
Italian, French, or Portuguese words.
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515:, Washington, D.C.: Organization of American States, General Secretariat, 1970.
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Underberg, Natalie. "Sor Juana’s ‘Villancicos’: Context, Gender, and Genre."
469:Álvaro Torrente, "Pliegos de villancicos en la Hispanic Society of America".
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454:, Kiev: Ukrainian National Tchaikovsky Academy of Music, 2009, pp. 326-336.
367:, ABB CDDC CBB. The theme of this type of villancico was usually about the
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depends on the number of lines in the mote: if there are 2 or 3 it is a
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Stevenson, Robert. "Ethnological Impulses in the Baroque Villancico."
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543:. Madrid-México D.F.: Fondo de Cultura Económica, 2012, chap. 1-2.
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Foundation for Iberian Music at The City University of New York
450:Álvaro Torrente, “The early history of villancico libretti”, en
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Here is an example of a Portuguese vilancete, written by
490:
Long, Pamela H. "Music and Theater in Colonial Mexico."
513:
Renaissance and Baroque Musical Sources in the Americas
170:
Villancico composers, who typically held positions as
1411:
246:—each one with 7 lines. The difference between the
501:. Berkeley: University of California Press, 1974.
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66:) was a common poetic and musical form of the
1397:
574:
2541:Hispanic-influenced music in the Philippines
452:Musicology today: problems and perspectives
443:Journal of the Institute of Romance Studies
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461:Knighton, Tess and Álvaro Torrente, eds.
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27:Poetic and musical form, 15–18th century
523:Grove Music Online. Oxford Music Online
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1067:Benidorm International Song Festival
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499:Christmas Music from Baroque Mexico
427:Stevenson, "Ethnological Impulses."
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260:, if there are 4 or more it is a
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518:Pope, Isabel and Paul R. Laird.
1000:Galicia, Cantabria and Asturias
347:Then comes Cupid with the sword
529:, (accessed October 14, 2009).
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465:Aldershot, UK: Ashgate, 2007.
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479:Inter-American Music Review.
304:Que, pois me teve à pendura,
7:
506:Inter-American Music Review
481:17, no. 1-2: 151-156, 2007.
409:Laird, "Literary Evidence."
351:O Cupid, you were knavish.
216:Tomás de Torrejón y Velasco
10:
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2562:Portuguese styles of music
418:Long, "Music and Theater."
343:To be hanged for having me
289:Enforquei minha Esperança;
196:Rafael Antonio Castellanos
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536:60, no. 4: 297-316, 2001.
349:And cuts the noose short.
310:Corta-lhe cerce o baraço.
291:Mas Amor foi tão madraço,
96:Juan Gutiérrez de Padilla
508:14, no. 1: 67-106, 1994.
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308:Vem Cupido com a espada,
293:Que lhe cortou o baraço.
230:This type of poem has a
2567:Spanish styles of music
1072:Eurovision Song Contest
363:This poem has a common
330:But Love was so knavish
312:Cupido, foste madraço.
300:Foi a Esperança julgada
180:José de Loaiza y Agurto
471:Pliegos de Bibliofilia
306:Que fosse dependurada:
302:Por setença da Ventura
332:He cut off the noose.
192:Manuel José de Quirós
88:Juana Inés de la Cruz
1412:Music genres in the
1010:Navarre and La Rioja
345:Hanging out with her
141:villancicos called "
63:[vilɐ̃ˈsetɨ]
46:[biʎanˈθiko]
2375:Afro-Peruvian music
1698:Afro-Peruvian music
1096:Musical instruments
511:Stevenson, Robert.
497:Stevenson, Robert.
400:Pope, "Villancico."
377:, an Italian poet.
319:English Translation
2281:Charanga-vallenata
1713:Son de los Diablos
1031:Spanish folk music
896:Soleá por Bulerías
806:Cantes a palo seco
521:""Villancico." In
375:Francesco Petrarca
341:By verdict of Fate
339:Hope was condemned
172:maestro de capilla
80:Francisco Guerrero
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445:, 8 (2000), 57-77
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328:I hanged my Hope;
188:Ignacio Jerúsalem
68:Iberian Peninsula
16:(Redirected from
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190:in New Spain;
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2503:Spanish opera
2501:
2499:
2496:
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2493:Punto guajiro
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2209:
2207:
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2199:
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2097:
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2087:
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2077:
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2072:
2070:
2069:Gaita zuliana
2067:
2065:
2062:
2061:
2059:
2055:
2049:
2046:
2044:
2041:
2039:
2036:
2034:
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2029:
2026:
2024:
2021:
2019:
2016:
2014:
2011:
2009:
2006:
2004:
2001:
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1996:
1994:
1991:
1989:
1986:
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1981:
1979:
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1900:
1894:
1891:
1889:
1886:
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1879:
1876:
1874:
1871:
1870:
1868:
1866:Southern Cone
1864:
1858:
1855:
1851:
1848:
1846:
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1838:
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1833:
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1779:
1776:
1774:
1773:Nueva canción
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1529:
1526:
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1521:
1519:
1516:
1514:
1513:Flamenco jazz
1511:
1509:
1506:
1504:
1501:
1499:
1496:
1495:
1494:
1491:
1489:
1486:
1484:
1481:
1479:
1478:Catalan rumba
1476:
1475:
1473:
1471:
1470:Spaniard folk
1467:
1461:
1458:
1456:
1453:
1451:
1448:
1446:
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1441:
1438:
1436:
1433:
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1425:
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1414:Hispanosphere
1407:
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1395:
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1372:
1369:
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1364:
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1297:
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1285:Sac de gemecs
1283:
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1128:
1125:
1123:
1122:Catalan shawm
1120:
1118:
1115:
1113:
1110:
1108:
1105:
1104:
1101:
1098:
1094:
1088:
1085:
1083:
1080:
1078:
1077:Benidorm Fest
1075:
1073:
1070:
1068:
1065:
1064:
1062:
1058:
1052:
1049:
1047:
1046:Spanish opera
1044:
1042:
1039:
1037:
1034:
1032:
1029:
1028:
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1016:
1013:
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986:
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857:
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852:
849:
847:
844:
842:
839:
837:
836:Flamenco jazz
834:
832:
829:
827:
824:
822:
821:Campanilleros
819:
817:
814:
812:
811:Cantes libres
809:
807:
804:
802:
799:
797:
794:
792:
789:
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782:
779:
777:
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644:
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639:
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634:
631:
629:
626:
624:
621:
619:
616:
614:
613:Catalan rumba
611:
609:
606:
605:
602:
599:
595:
591:
584:
579:
577:
572:
570:
565:
564:
561:
555:
552:
551:
542:
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535:
531:
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524:
517:
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510:
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483:
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476:
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448:
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424:
415:
406:
397:
395:
393:
391:
386:
378:
376:
372:
371:
366:
356:
352:
337:
326:
321:
320:
316:
313:
298:
287:
282:
281:
277:
276:
272:
270:
265:
263:
259:
255:
254:
249:
245:
241:
237:
233:
223:
221:
217:
213:
209:
205:
204:José Cascante
201:
197:
193:
189:
185:
181:
177:
173:
168:
167:
163:
159:
158:
152:
148:
144:
138:
134:
132:
128:
124:
120:
116:
111:
107:
105:
99:
97:
93:
89:
85:
81:
77:
73:
69:
64:
56:
52:
47:
39:
35:
34:
19:
2512:
2508:Spanish jazz
2431:Other genres
2033:Puerto Rican
1087:OTI Festival
1051:Spanish rock
1036:Spanish jazz
826:Cartageneras
744:Género chico
730:
671:New flamenco
540:
533:
522:
512:
505:
498:
491:
478:
470:
462:
451:
442:
423:
414:
405:
368:
365:rhyme scheme
362:
354:
335:
324:
323:
318:
317:
296:
285:
284:
279:
278:
266:
261:
257:
251:
247:
243:
239:
235:
231:
229:
171:
169:
165:
161:
155:
150:
146:
142:
139:
135:
122:
112:
108:
100:
50:
32:
31:
29:
2529:Latin music
2453:Contradanza
2345:Tecnocumbia
2320:New Chilean
2305:Bullerengue
2161:Cha-cha-cha
2094:jalisciense
2084:Mexican Son
1968:Alternative
1931:Nuevo tango
1830:Duranguense
1778:Nueva trova
1623:Alternative
1577:Latin urban
1435:Carnavalito
995:Extremadura
801:Cante jondo
726:Tono humano
696:Rock urbano
691:Rock català
131:St. Cecilia
18:Villancicos
2577:Song forms
2556:Categories
2513:Villancico
2395:Latin jazz
2368:Afro-Latin
2325:Panamanian
2255:Son cubano
2048:Venezuelan
2008:Latin rock
2003:Ecuadorian
1663:Chamarrita
1656:Litoraleña
1643:Panamanian
1633:Moombahton
1539:Isa (from
1260:Cabreiresa
1207:Txalaparta
1182:Psalterium
1172:Kirikoketa
886:Siguiriyas
861:Martinetes
856:Malagueñas
735:Xiringüelu
731:Villancico
701:Seguidilla
676:Nova Cançó
492:Ars Lyrica
435:References
59:pronounced
55:Portuguese
42:pronounced
33:villancico
2534:subgenres
2473:Pasacalle
2448:Christian
2438:Aguinaldo
2310:Colombian
2300:Argentine
2277:Vallenato
2248:romántica
2231:Guaguancó
2111:Zamacueca
2064:Chacarera
2043:Uruguayan
2023:Nueva ola
1998:Dominican
1988:Colombian
1973:Argentine
1941:Bandoneon
1763:Colombian
1750:Latin pop
1740:Zamacueca
1718:Toro Mata
1638:Neoperreo
1615:Reggaeton
1562:Tajaraste
1557:Pasodoble
1552:Malagueña
1356:Chirigota
1311:Classical
1280:Sanabresa
1270:Odrecillo
1117:Castanets
1112:Bandurria
990:Catalonia
960:Andalusia
921:Verdiales
866:Peteneras
721:Tonadilla
711:Tajaraste
706:Sevillana
686:Pasodoble
681:Pasacalle
618:Chirigota
258:vilancete
248:vilancete
200:Guatemala
51:vilancete
2390:Candombe
2330:Peruvian
2221:Pachanga
2216:Méringue
2211:Merengue
2201:Guaracha
2186:Cuarteto
2176:Charanga
2166:Champeta
2138:Tropical
2121:Marinera
2089:huasteco
2028:Peruvian
1926:Neotango
1873:Candombe
1850:Ranchera
1840:Mariachi
1803:Conjunto
1788:Regional
1725:Marinera
1668:Guarania
1628:Bachatón
1567:Zarzuela
1508:Cantiñas
1503:Bulerías
1493:Flamenco
1488:Fandango
1450:Morenada
1440:Diablada
1366:Rondalla
1361:Comparsa
1351:Charanga
1316:Flamenco
1265:Galician
1250:Asturian
1232:Zambomba
1167:Guitarro
1137:Dulzaina
1127:Chácaras
1015:Valencia
906:Tarantas
851:Guajiras
846:Granaína
841:Garrotín
816:Cantiñas
791:Bulerías
776:Alegrías
761:Flamenco
739:Zarzuela
666:Muiñeira
643:Fandango
638:Ensalada
336:(Volta:)
297:(Volta:)
280:Original
250:and the
208:Colombia
166:tocotín.
151:negrillo
147:negrillo
127:Catholic
2522:Related
2478:Pasillo
2458:Criolla
2412:Milonga
2355:Cachaca
2350:Villera
2315:Mexican
2260:montuno
2196:Guajira
2171:Changüí
2156:Calypso
2146:Bachata
2099:jarocho
2038:Spanish
2018:Mexican
1983:Chilean
1978:Chicano
1916:Milonga
1888:Milonga
1825:Grupera
1808:Norteño
1798:Corrido
1790:Mexican
1768:Mexican
1730:Tondero
1703:Festejo
1678:Chamamé
1600:R&B
1585:Hip hop
1498:Alboreá
1430:Bambuco
1326:Morisca
1306:Baroque
1290:Xeremia
1275:de saco
1255:de boto
1217:Vihuela
1202:Trikiti
1192:Tambori
1147:Flabiol
1142:Fiscorn
911:Tientos
831:Farruca
786:Bambera
781:Alboreá
633:Endecha
370:saudade
325:(Mote:)
286:(Mote:)
262:cantiga
253:cantiga
176:baroque
162:gallego
123:Te Deum
104:refrain
38:Spanish
2488:Pregón
2468:Décima
2417:Tambor
2407:Mapalé
2292:Cumbia
2191:Danzón
2151:Bolero
2106:Tonada
2079:Joropo
1857:Trival
1845:Jarabe
1818:Tejano
1813:Nortec
1758:Ballad
1595:Reggae
1445:Huayno
1422:Andean
1321:Latina
1299:Guitar
1227:Xirula
1212:Txistu
1197:Timple
1177:Palmas
1157:Gralla
1107:Alboka
1005:Murcia
965:Aragon
926:Zambra
751:Romani
716:Tiento
656:Jácara
608:Bolero
597:Styles
355:
210:; and
186:, and
164:, and
157:jácara
145:" or "
119:matins
115:matins
94:, and
2483:Plena
2463:Danza
2380:Bomba
2335:Porro
2272:Trova
2267:Timba
2238:Salsa
2226:Rumba
2206:Mambo
2181:Conga
2126:Zamba
2116:Cueca
2013:Metal
1993:Cuban
1903:Tango
1893:Murga
1878:Cueca
1835:Banda
1708:Landó
1590:House
1535:Folia
1528:Soleá
1523:Saeta
1483:Copla
1460:Tinku
1346:Cobla
1242:Gaita
1187:Rabel
916:Tonás
901:Tango
891:Soleá
881:Saeta
876:Rumba
796:Cante
766:palos
648:Folia
628:Cuplé
623:Copla
381:Notes
244:glosa
240:copla
236:volta
218:, in
206:, in
198:, in
143:negro
49:) or
2498:Seis
2243:dura
2074:Gato
1960:Rock
1921:Vals
1735:Vals
1605:Trap
1547:Jota
1455:Saya
1371:Tuna
1222:Viol
871:Polo
661:Jota
232:mote
220:Peru
214:and
194:and
30:The
2340:Rap
652:Isa
242:or
2558::
389:^
271::
238:,
222:.
202:;
182:,
160:,
98:.
90:,
86:,
82:,
78:,
74:,
57:,
40:,
2283:)
2279:(
1543:)
1405:e
1398:t
1391:v
768:)
764:(
582:e
575:t
568:v
527:.
525:"
53:(
36:(
20:)
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