El fandango en la dramaturgia musical tonadillesca: el gesto en su contexto

Dance musics of popular flavour ―the so-called sonsonetes populares at the time― plagued the tonadillas of the second half of the eighteenth century, to the point of being considered an inherent feature of this genre. In the present article we would like to study how the composers of tonadillas used these sonsonetes populares, and for this purpose we take as a starting point the fandango, concretely the theatrical with three parts. Throughout the analysis of some cases we observe how the composers of tonadillas manipulated and adapted a sound and dance material well-known by the audience, according the dramatic intention of the play, from caricatural synthesis to metaphorical and conceptual uses